Endless Circle
by Minxy
Summary: COMPLETED! A Days-meets-Alias Broe fic, sequel to "Long Shot." Action! Nookie! Rock-n-Roll! And Phillip as a baaad puddy-tat.
1. Six Degrees of Separation

Endless Circle

by

Minx Trinket

Disclaimer: Do I apologize to Corday, Abrams, or Fleming and Broccoli for this one? 

Rating: PG-13

Summary: Eight years after the events of "Long Shot." Chloë goes all Sydney Bristow. Brady goes all James Bond. Three guesses who the bad guy is, and the first two don't count.

Song Notes: Only three numbers this time, one from AR, one from Nadia, and one from Kyle.   
Let's open with Antigonë Rising's "She Lived Here." Why? 'Cause I lurve them. And it fits. It does!  
"Endless Circle," is a tune by the band November Project (R.I.P., *sniff*). Lyrics are copyright 1999 by Julie Flanders and Emil Adler, used completely and totally without permission. Hey, free publicity, guys!  
And let's end with a Kyle cover of "Everlong" again, the plugged version this time. 

MUSIC OVER: "She Lived Here."

FADE IN:

Aerial shots of NIGHT in NEW YORK CITY (2010):

Overview of Manhattan Island

Lincoln Center

Teeming traffic

Broadway

Packed crowds

The Empire State Building

Crunch Fitness

A room full of muscleheads working out, and finally

INT. KICKBOXING ROOM - CRUNCH FITNESS - NIGHT

CHLOË LANE, 26 years old, is alone. Dressed in black sports bra and shorts, hair back in a tight bun, wearing practice gloves, she's beating the hell out of a heavy bag to the beat of some internal soundtrack (which just happens to match our own). She's been at this a while and is sweating hard. She punches, kicks, punches again. There's something more than cardio fitness at stake here.

HALLWAY

A MAN watches her through the plate glass window. We only see him from behind. He's wearing a trench coat, has salt-and-pepper hair slightly favoring the salt, and leans on an elaborately carved cane.

IN THE ROOM

Chloë continues as MUSIC FADES (END MOS). We can hear her grunts now, her panting.

The man enters. She doesn't notice. We follow from behind as he approaches her. When he speaks, we discover that he is an --

ENGLISHMAN  
Excuse me, Mrs. Black?

Chloë stops, startled, and notices him. She scowls.

CHLOË  
Lane.

ENGLISHMAN  
Pardon?

CHLOË  
It's "Ms. Lane" now, on and   
off stage.

ENGLISHMAN  
(thrown)  
Oh...oh, I see. My apologies.

The scowl disappears, replaced by Meet-the-Fans face.

CHLOË  
That's okay. Can I help you?

ENGLISHMAN  
Yes, I...well, first of all, I must  
say what an honor it is to meet you.  
I've been a fan of yours for many  
years. I have all of your albums.  
I've seen you perform several times.  
Your CioCio-San, I saw it at the  
Edinburgh Festival years ago. Just  
stunning, really.

CHLOË  
Thanks. That's always been my  
favorite part, actually.

ENGLISHMAN  
It's obvious why.

CHLOË  
Listen, I...uh, I don't mean to  
be rude, but I'm kind of in the   
middle of my workout here. Gotta  
keep the heart rate up, you know.  
But I'd be happy to talk after I'm  
done if you want to wait. Or if  
you just want an autograph you  
can leave me your card and --

ENGLISHMAN  
Oh, no, Mrs. -- er, Ms. Lane, I  
am a fan, but I'm not here as a  
fan. I'm here on business, in fact.  
Rather serious business.

CHLOË  
Really? Well, then, how can  
I help you, Mister...uh...?

ENGLISHMAN  
Oh, how rude of me!

He fishes in the breast pocket of his coat and brings out an I.D. He holds it up to Chloë.

ANGLE ON his face. It's --

SHANE  
Shane Donovan. ISA.

INT./EXT. SHANE'S LIMOUSINE - NIGHT

The black stretch limo edges its way through the city streets.

Inside, Chloë (in street clothes -- white blouse and jeans) sits beside Shane, but she looks out the window at passing buildings, occasionally glancing up at a billboard or sign. Shane looks uncomfortable. He clears his throat.

SHANE  
If you don't mind my asking,  
your divorce from Brady Black.  
I understand it's final.

She looks at him skeptically.

SHANE (CONT'D)  
I don't mean to intrude. It's   
just --

CHLOË  
That's all right. I don't suppose  
you'll be telling the tabloids  
anything, huh? Yes. It's final. A year  
ago now.

SHANE  
I see....Do you mind if I ask  
what really happened between you?

CHLOË  
Short version?  
(beat)  
We came to New York. I went  
to school. I got a recording contract.  
So I quit school. We got married. We  
got divorced. That's pretty much it.  
(beat)  
We were too young. When things  
got tough, we didn't....

She shrugs. She goes back to the window.

SHANE  
How long has it been since you've  
seen or spoken with him?

CHLOË  
I don't know....I guess it's almost  
two years now. The divorce was mostly  
paperwork, formalities. Why?

SHANE  
Morbid curiosity. I'm terribly sorry.

CHLOË  
(beat)  
So, how long until we get there?

SHANE  
Not long now.

The limo slips around a delivery van and onto the West Side Highway, headed north.

INT. SHANE'S OFFICE - ISA MANHATTAN HEADQUARTERS - NIGHT

The room is "posh" in the purest sense of the word, dark wood and old leather, very Shane. Chloë sits, composed on the surface, in a large, wing-backed chair in front of his desk. Shane hobbles over and sets a bone china CUP OF TEA on the table beside her. Then he circles the desk and sits in his own chair with a sigh, rubbing his knee. 

SHANE  
Well.

CHLOË  
Yes. Well.

SHANE  
Have you ever, by any chance,  
heard the name "Yios O."

CHLOË  
(frowns)  
It's...Greek? "Brother"?

SHANE  
"Son" actually.

CHLOË  
That's someone's name? No. I've  
never heard of him.

SHANE  
I was afraid you'd say that.

CHLOË  
Why?

SHANE  
Because he has heard of you.

CHLOË  
(beat)  
Um, will it sound totally narcissistic  
if I say that's not that unusual? I  
mean, Madonna I ain't, but --

SHANE  
I'm afraid it's a bit uglier than that.

He pulls a MANILA FOLDER from a desk drawer. He places it in front of himself and folds his hands across it.

SHANE (CONT'D)  
Yios O is the code name used by  
one of the most unsavory international  
crime bosses I have ever had the  
displeasure to encounter, and  
that's saying quite a bit I assure  
you. He has no national affiliation,  
no political agenda, just the pure  
accumulation of wealth and power.  
He has no moral compass as far  
as I can ascertain, and he has   
a hand in nearly every disreputable  
occupation you could imagine, from  
drugs to weapons to slavery.

CHLOË  
Charming. And you haven't  
arrested him because...?

SHANE  
Because we don't know who he is.  
(beat)  
For going on five years now,  
every agent we've sent into  
his organization has turned  
up dead and empty handed.  
We know nearly as little about   
him now as we did when he first  
emerged on the scene --

CHLOË  
Mr. Donovan, this is all very...  
well, disturbing, but why are you  
telling me this?

SHANE  
Because there is one thing we do  
know about him. The only thing  
Yios O is more interested in  
than his own power...is you.

He lets this sink in. Chloë stares at him, gaping. He pushes the folder across the desk to her and opens it. It's full of BLACK-AND-WHITE PHOTOS.

SHANE (CONT'D)  
The only agent who has ever  
managed to contact us once   
inside his organization was a  
photographer, whom Yios O  
hired to follow you.

Chloë flips slowly through the pictures. They're surveillance photos all right. Chloë walking down 5th Avenue. Chloë in the recording studio. Chloë in the gym. And so on. And so on. Then, at the bottom of the pile, Chloë and BRADY sitting at an outdoor café, looking miserable. She stops at this picture, and just for a second her horror turns to sadness. She collects herself and looks at Shane. Her voice is tight.

CHLOË  
So, why are you telling me this?

SHANE  
We want to bring you in.

CHLOË  
(beat)  
In?

SHANE  
To the ISA. We'd like you to   
work for us, as an agent.

Beat. 

Chloë laughs like it's the funniest thing she's heard in years.

SHANE (CONT'D)  
Ms. Lane --

CHLOË  
I'm sorry, that's just, that's...  
This is ridiculous. Is this some  
kind of joke?

SHANE  
I assure you it's quite serious.

CHLOË  
Look, Mr. Donovan, I....

She laughs again, close to losing it. She stands and rushes to the door. She pulls it open and dashes out.

Shane jumps to his feet and limps after her.

INT. HALLWAY - ISA HEADQUARTERS - CONTINUOUS

Chloë tries to leave but is lost. Shane catches up to her.

SHANE  
Ms. Lane, please --

CHLOË  
Mr. Donovan, I am a singer.  
I'm not a spy. I can't do...spy  
things. I'm just a singer.

SHANE  
We're aware of that. Look, you may  
find this hard to believe, but   
you wouldn't be the first star to  
be recruited by us. Celebrities  
have access to places and people  
that we so-called common folk  
do not. Behind stages, on movie  
sets, hobnobbing with royalty.  
Where we stand out, you blend  
in. It's the perfect cover and one  
we've used quite often.

CHLOË  
But me? Me? Just because  
some criminal mastermind  
has a Chloë Lane fixation?

SHANE  
To be frank, Ms. Lane, we've  
had our eye on you for quite  
some time.

CHLOË  
You're joking.

SHANE  
Quite serious. One of our agents  
recommended you years ago.

CHLOË  
Who?

MALE VOICE (O.S.)  
It sure as hell wasn't me.

Chloë freezes. She turns slowly toward the voice.

He stands casually in a doorway, hands stuffed into his pockets, playing it ultra cool.

BRADY (CONT'D)  
Hey, Chlo'.

She blinks at him.

CHLOË  
Oh, I am so out of here.

She dashes off. Shane sighs. Brady shrugs at him.

INT. LOBBY - ISA HEADQUARTERS - CONTINUOUS

A panicky Chloë emerges from a stairwell and heads for the heavily guarded front doors.

GUARD  
Mrs. Black?

CHLOË  
LANE!

GUARD  
I'm afraid you're not allowed  
out that way.

CHLOË  
Well, then, show me the damn  
way out!

GUARD  
Certainly, ma'am, just a --

He stops, puts a finger to the listening device in his ear. He nods.

GUARD (CONT'D)  
Understood.  
(to Chloë)  
Ma'am, I've been asked to retain  
you. Agent Black wants a word.

CHLOË  
Oh yeah, well you can tell Agent  
Black to take his assignment and  
stick it up his --

FEMALE VOICE (O.S.)  
Her.

Again, Chloë is struck speechless. She turns slowly.

Special Agent BELLE BLACK stands in the lobby: perfect suit, perfect hair, a blonde Dana Scully. If we didn't love her so much, we'd smack that smart-ass smile right off her face.

BELLE (CONT'D)  
"Up her ass," you were going  
to say.

CHLOË  
(beat)  
You've got to be kidding me.

EXT. PETITO'S ITALIAN RESTAURANT - NIGHT

Establishing shot of a converted brownstone.

INT. PRIVATE ROOM - PETITO'S - NIGHT

Belle and Chloë sit at a table for two in the sumptuously furnished but otherwise empty room. Belle looks completely relaxed and smiles openly at the WAITER as he brings in two CAESAR SALADS and places them before the women.

BELLE  
(to waiter)  
Thanks, Joey.

He nods and departs. Belle picks up her fork and digs in.

BELLE (CONT'D)  
Mmm. I know, this thing is like,  
cholesterol city, but they make the  
best Caesar salads. Seriously.

CHLOË  
Belle....

BELLE  
Oh, come on. Couple of egg yolks  
won't kill you.

CHLOË  
Belle --

BELLE  
Mmm. I forgot, do you want a  
glass of wine or something?

CHLOË  
Belle!  
(beat; quietly)  
How long have you been...a spy?

She shrugs, munching, casual.

BELLE  
You don't have to whisper. This   
place is as clean as it gets. As  
far as we know. Anyway, technically  
speaking, I'm not what you'd call a spy.

CHLOË  
You're not?

BELLE  
I'm a profiler. You know, psych  
stuff. A little criminal profiling,  
a little recruiting, a little mind   
control...  
(off Chloë's look)  
Kidding! Sheesh, lighten up, Chlo'!

CHLOË  
Lighten up?  
(louder)  
Lighten up?!

BELLE  
Not that far up.

CHLOË  
Belle, you're a spy! And Brady's  
a spy! You're spies! You! And   
Brady! And I'm freaking out!

BELLE  
Shh, shh, shh, okay. It's okay.

CHLOË  
It's really not.

Belle pushes a button on the table. She speaks to an unseen microphone.

BELLE  
Joey? Two glasses of the   
Montepulciano, when you get  
a chance. Thanks.  
(to Chloë)  
All right. Yell away.

CHLOË  
(quietly)  
I....What the hell is going on?

Belle sighs. She puts down her fork and looks seriously at Chloë.

BELLE  
I was recruited into the ISA straight  
out of college. I'm not some Mrs.  
Peel super spy. I'm just a government   
grunt, a glorified desk cop. One   
of my jobs is to identify new talent.   
And I identified you. Now, with  
this Yios O thing, it seemed like  
the time to bring you in.

CHLOË  
And Brady? The whole time we  
were married, was he --

BELLE  
No. I recruited him after you  
two split up. He didn't even know  
what I did. The whole family thought  
I was a social worker....After you...  
he came to me, and he was so lost,  
I....Sorry.

CHLOË  
Go on.

BELLE  
He had nothing. No direction.  
He didn't know what to do. Maybe  
I was blinded by sisterly affection,  
but...I filed a recommendation, and  
we brought him in.  
(beat)  
He's hard core. The real deal.  
And he's very good at what he does.

CHLOË  
Well, I'm...I'm glad he's found  
himself. Really. It's great. But it has  
nothing to do with me anymore.

BELLE  
It does, Chloë. This Yios O guy,  
he's bad news. Really bad. We  
need your help. We can't get to  
him any other way.

CHLOË  
There's got to be --

BELLE  
If you don't help us, they're  
gonna send Brady in instead...  
it's a death sentence, Chloë.

CHLOË  
You said he's good.

BELLE  
So was everyone else we've sent  
in there. And they're all dead.

Belle's eyes plead with her. Chloë looks down at her untouched salad. Then she looks up at Belle again, eyes narrowed in determination.

INT. SHANE'S OFFICE - NIGHT

Chloë strides through the door, chin high and defiant. Belle hurries to catch up. Shane looks up at her, surprised.

CHLOË  
Okay. What exactly do I have to do?


	2. The Slippery Slope

BEGIN MOS 

INT. TRAINING ROOM - ISA HEADQUARTERS

Chloë sits at a folding table in a folding chair in a bare, windowless room. She's looking studiously, seriously, at an unnamed FEMALE AGENT, who stands at a whiteboard at the front of the room. The board says YIOS O at the top, in big red letters, with lots of info and flowcharts and such beneath. The agent talks. Occasionally, Chloë frowns, nods, asks questions.

SHANE (V.O.)  
The first thing we need to do  
is get you up to speed on the case.  
At the same time, we'll start briefing  
you on security procedures.

CHLOË (V.O.)  
Security procedures?

SHANE (V.O.)  
What you can say about your work,  
to whom, and when.  
(beat)  
Essentially, nothing to no one and   
never.

CHLOË (V.O.)  
Uh-huh.

INT. ISA GYM - DAY

Chloë works out with a MALE AGENT in who wears a gi and BLACK BELT. She's holding her own.

SHANE (V.O.)  
I understand that your self-defense  
skills are quite impressive already.

CHLOË (V.O.)  
Yeah, well, you can't always  
rely on bodyguards, can you?

SHANE (V.O.)  
In a few months, you'll never have  
to rely on them again.

INT. TRAINING ROOM

Belle and Chloë, going through piles and piles of papers, debating, drinking coffee.

CHLOË (V.O.)  
A few months?

SHANE (V.O.)  
We hope to have you on active  
duty within a month. We're  
cutting several corners for you.

INT. ISA SECURITY OFFICES

A very BIG MALE AGENT is taking Chloë's fingerprints.

CHLOË (V.O.)  
How many corners?

SHANE (V.O.)  
That, shall we say, is need-  
to-know information.

LATER

A FLASH goes off, and Chloë stands, half-blinded, in front of a blank wall.

The Big Agent busies himself with the ID PHOTO that pops out of his camera.

HALLWAY

Brady slouches by, scowling.

SHANE (CONT'D; V.O.)  
But you will need to be as  
well-trained as any regular  
recruit. Which means more   
work for you. And us, I might add.

INT. TOWER RECORDS - GREENWICH VILLAGE - DAY

Chloë sits at a SIGNING TABLE, her MANAGER and HANDLERS scattered nearby. She smiles at every fan in the LONG LINE that winds through the store.

SHANE (CONT'D; V.O.)  
Meanwhile, you'll need to  
keep up your usual schedule.   
No canceling appearances.  
No rescheduling recording  
sessions. To the public eye,  
your life must go on as though  
all were normal.

Chloë hands off a SIGNED CD to a FAN and looks around the fan at the line. She frowns a little, scanning the FACES, wondering "Could he be here? Now?"

She quickly turns her attention back to the NEXT FAN and smiles, taking the CD from his hand.

CHLOË (V.O.)  
Great. So. When do I sleep?

SHANE (V.O.)  
We'll try to squeeze something in.

END MOS

INT. TRAINING ROOM

Chloë and the Black Belt sparring again. She looks exhausted. He KICKS her feet out from under her and she LANDS on her back with an OOF, blinking up at the ceiling.

From her POV, the FLUORESCENT LIGHTS in the ceiling FLARE, and we

WHITE OUT TO:

INT. FIRING RANGE - DAY

Chloë follows Belle along the line of AGENTS practicing their SHOOTING. They take their place in an EMPTY BOOTH.

Belle presses the button on the wall for a new target.

CHLOË  
So, how well do you know  
this Shane guy?

BELLE  
I've known him practically all  
my life.

CHLOË  
Really?

Belle pulls a 9 MM GLOCK out of a holster in the back of her waistband. She pops the clip out, inspects it.

BELLE  
He's an old Salemite. He's   
practically family.

CHLOË  
You're kidding.

She replaces the clip, takes the safety off.

BELLE  
Guess that was before your  
time. Let's see. Well, he was  
Roman's partner back in his ISA  
days, worked with Bo and Hope  
when they had their detective  
agency, and was pretty heavily  
involved their sisters.

CHLOË  
Sisters, plural?

BELLE  
Married and had two kids  
with Kim, and after that divorce  
was kinda hot-n-heavy with  
Kayla for a while.

CHLOË  
(beat)  
Y'know, Salem may be in  
Illinois, but sometimes it sure  
feels like Arkansas.

Belle gives Chloë a dirty look and thrusts a pair of HEADPHONES into her hands. The women put on the safety gear, and Belle picks up the gun again.

POW POW POW!

Belle fires NINE quick shots into the paper target. All of them are in the bull's-eye or the first ring out: kill shots.

Chloë gapes.

CHLOË  
I thought you said you didn't  
do the spy stuff.

Belle pops out the empty clip, slaps in a new one.

BELLE  
I said I didn't do it. I didn't say  
I wasn't trained to do it.

She hands Chloë the gun. Chloë handles it like an egg. Belle pushes the button for a new target and steps aside, motioning Chloë into position.

BELLE (CONT'D)  
Feet hip-width apart, brace your  
shoulder against the recoil, and  
squeeze, don't pull, the trigger.

Chloë raises the gun doubtfully.

She fires, NINE shots: POW POW POW!

She lowers the gun.

The women stare at the target.

One hole. Above the shoulder.

Back to the women.

BELLE  
I'm thinking tazer.

Chloë sighs.

BELLE (CONT'D)  
We'll practice.

Chloë nods.

EXT. NEW YORK CITY - SUNRISE

INT. BEDROOM - CHLOË'S APARTMENT - MORNING

Chloë is woken by the phone. She reaches blearily for it and brings the receiver to her ear.

CHLOË  
...mullo?

OPERATOR (O.S.)  
(on phone)  
Ms. Lane?

CHLOË  
...yes....

There is a series of CLICKS.

OPERATOR (O.S.)  
(on phone)  
This is now a secure line. Please  
hold for Assistant Director Donovan.

Chloë struggles to sit up. She pushes a hand through her hair. She squints at the clock. It's 6:05

SHANE (O.S.)  
(on phone)  
Ms. Lane?

CHLOË  
Mr. Donovan. Yes. It's me.

SHANE (O.S.)  
(on phone; scolding)  
Ms. Lane.

CHLOË  
(yawning)  
Chloë Lane. Stand by for voice  
print. "To thine own self be true."

SHANE (O.S.)  
(on phone)  
Much better. Sorry to wake you.

CHLOË  
(big yawn)  
You didn't, sir.

SHANE (O.S.)  
(on phone)  
You're needed uptown.

CHLOË  
When?

SHANE (O.S.)  
(on phone)  
As soon as you've dressed.

He hangs up. Chloë puts the phone down and rubs the sleep from her eyes.

MONTAGE:

Chloë showers hastily.

Hair still wet, she hails a CAB outside HER APARTMENT BUILDING

The cab lets her out in front of TIFFANY'S. She enters.

Inside, a SALESMAN greets her and leads her through a door marked PERSONAL SHOPPING SERVICE.

Once inside, the salesman stops and swipes a KEY CARD through a MAGNETIC LOCK near a STAIRWELL marked PRIVATE.

Chloë heads down a DARK SPIRAL STAIRCASE.

She emerges unnoticed in a shadowy corner of a SUBWAY PLATFORM as a TRAIN arrives.

She LEAVES a train on ANOTHER PLATFORM and strides confidently toward another SHADOWY CORNER.

INT. SHANE'S OFFICE - DAY

Shane sits on the edge of his desk, looking through CHLOË'S PERSONNEL FILE. Brady paces around, handling one of Shane's antique TEACUPS as if it's Starbuck's takeout. Shane eyes him warily but says nothing.

SHANE  
Reports from all quarters  
indicate that she's coming along  
quite nicely....Excellent hand-to-  
hand combat skills....

BRADY  
She always was good at kickin'  
a guy in the crotch.

SHANE  
(ignores him)  
Weapons...well, her marksmanship  
is less than we'd hoped for....Ah,  
but it seems she's showing a   
talent for knives.

BRADY  
(sarcastic)  
Oh, goody!

SHANE  
Do try to treat this matter with the  
gravity it deserves, Agent Black.

BRADY  
I am treating this with the gravity  
it deserves.

IN THE HALLWAY

Chloë approaches the open door, hears voices, stops.

BRADY (CONT'D; O.S.)  
Of all the cock-eyed, hare-brained,  
half-assed ideas --

Chloë looks surprised.

SHANE (O.S.)  
Agent Black --

BRADY (O.S.)  
Only a certifiable, full-on, wacko,  
card-carrying moron would try to   
make Chloë Lane into a spy!

Now she looks pissed.

IN THE OFFICE

Shane doesn't look to amused either.

SHANE  
Shall I remind you recruiting her  
was Belle's idea. The same "moron"  
as you put it who turned  
you into a spy.

BRADY  
Yeah, well, I love my sister, I  
respect her judgment, in most things,  
but when it comes to Chloë she's  
got a blind spot. They've been   
through a lot together --

SHANE  
And you haven't?

BRADY  
I thought we were gonna leave  
my marriage out of this.

SHANE  
I meant you and Belle.

BRADY  
(beat; calmer)  
Take a look, take a good, long  
look at Chloë's personality tests.   
She's...she's...she doesn't have the  
...the stability you need for this kind  
of work. She doesn't have the self  
control. She's ruled by her   
emotions. She's impulsive --

SHANE  
You're a fine one to call someone  
impulsive!

BRADY  
There's a difference between   
operating on impulse and instinct.  
Chloë cannot be relied on to make  
the right call in a high-pressure  
situation.

CHLOË (O.S.)  
Y'know, he's right.

The men look up, first shocked, then embarrassed. Chloë, standing in the threshold, smiles wickedly.

CHLOË (CONT'D)  
'Cause right now, my impulse is to  
take these ID cards and...but, no.  
I'll try to maintain a little "self-  
control." I'm sorry, Mr. Donovan.  
But I don't think this is gonna  
work out.

Chloë drops her ID on a table near the door. She starts to leave, but turns back for a second.

CHLOË (CONT'D)  
And I gotta say, for spooks, you  
guys are really lousy at the whole  
keeping secrets thing.

She's gone.

Shane shoots Brady a look.

BRADY  
Right.

He tosses the teacup aside (making Shane lunge to catch it) and runs after her.

INT. STAIRWELL - CONTINUOUS

Chloë is hurrying down the stairs. Brady comes dashing down behind. She ignores him.

BRADY  
Wait, Chloë. Wait! I said wait  
up a sec! Jeez, Chlo', you never  
freakin' change, do you! Trust   
Chloë Lane to run out when the   
going gets tough!

She stops on a landing and whirls on him.

CHLOË  
Me running out? Me? Running  
out? Oh, ho, ho, you've got one  
hell of a nerve.

BRADY  
And you've got one hell of a   
mental defect thinking you can  
just walk away from this. This  
isn't high school. This isn't your  
marriage. It's the goddamn ISA  
and you don't just walk out of  
this one.

CHLOË  
Right, I wait for you to throw me out.

BRADY  
Wouldn't that be a switch?

CHLOË  
Don't you dare make this about  
what happened between us. I'm  
doing this for one reason and one   
reason only.

BRADY  
Would that be power or glory?

CHLOË  
It would be to save your sorry ass.

BRADY  
Excuse me?

CHLOË  
You heard me!

BRADY  
The day I need you to save me  
will be a cold day in Hell.

CHLOË  
Well guess what? Belle's packed  
you some mittens.

BRADY  
You leave my sister out of this.  
This is between you and me.

CHLOË  
No, it's between you and me and  
some psycho Stefano wannabe  
who's stalking me! Do think I   
actually like this? Do you think I  
want to be here? Do you think I  
ever had the slightest desire to  
give up my life, my privacy, my  
freakin' sleep to play cops and   
robbers? I don't have a choice,  
Brady! At the very least, I have  
to be able to protect myself, since --

She stops abruptly.

BRADY  
Since I can't?

CHLOË  
I didn't say that.

BRADY  
You didn't have to. You never really   
forgave me.

CHLOË  
You never forgave yourself. And now  
you're willing to let this maniac run  
around free because it hurts your poor  
widdle ego to see me do your job and  
do it well.

BRADY  
Oh, right, 'cause you're Chloë Lane!  
You can do everything! I'm just the  
poor schmuck with no skills, no  
talent, no future --

CHLOË  
You were the one who didn't want  
to be in the studio! I wanted you  
singing with me! I wanted you in   
the booth! I wanted you to be a part  
of my career!

BRADY  
That was the point, Chloë! It was  
your career! Not mine! Yours! And  
I got sick and tired of being your  
lapdog! I needed a life of my own!

CHLOË  
And I never tried to stop you from  
having one! Augh!

She tears at the roots of her hair.

CHLOË (CONT'D)  
This is so stupid. This same ridiculous  
fight, over and over again. The point  
is, Brady, that we fell out of love --

Brady's face: direct hit. We what? He's quick to cover as she continues.

CHLOË (CONT'D)  
Does it matter who stopped loving first?

BRADY  
(beat)  
I guess not.

CHLOË  
Brady, we have to get past this.  
'Cause this is so much bigger than  
you and me. This is too --

BRADY  
You're right.  


Suddenly, he's the cold, hard boy she met on the docks all those years ago, all pout and "Whatever." 

BRADY (CONT'D)  
(off her look)  
You're right, okay? Truce.

He sticks out his hand. She shakes it cautiously.

BRADY (CONT'D)  
C'mon. Time to work.

They climb the stairs.

EXT. CHLOË'S APARTMENT - SUNSET

Chloë exits a taxicab (NOTE: different outfit -- this is several days later) and enters her building.

INT. CHLOË'S APARTMENT - CONTINUOUS

It's semi-dark as Chloë enters and flips on the light.

BRADY  
Hi!

CHLOË  
Jeez!

She nearly jumps out of her skin. Brady lounges on the couch and grins. He's wearing a dark trench coat and black pants.

BRADY  
Y'know, for a spook, you're pretty  
lousy at the walking into a dark  
room thing.

CHLOË  
Please tell me this is a social call  
so I can kill you.

Brady holds up a cream-colored ENVELOPE.

BRADY  
You were invited to the Kuwaiti  
Ambassador's birthday party.

CHLOË  
Yes I was.

BRADY  
You turned it down.

CHLOË  
Yes I did.

BRADY  
You're going anyway.  
(grins)  
It's your first assignment.

Exhausted, Chloë throws her keys on a table and sighs.

CHLOË  
Great.

BRADY  
Hurry up and get changed.  
(beat)  
Wear something sexy.

Chloë shoots him a nasty look and storms into her bedroom.

LATER

Brady is fiddling with some knickknacks when he hears Chloë emerge slowly from the bedroom. He turns to say something. His jaw drops.

Chloë stands in the doorway, paying no attention to him. She's fiddling with the clasp of her NECKLACE, a large white sapphire in a sleek setting. Her dress is cut up to there and down to there and shines like a jewel. (Think Angelina Jolie at the 2000 Golden Globes, but with teeny, weeny straps holding it on. Barely.) Her hair is piled high and has an elaborate HAIRSTICK holding it in place. Her attitude holds not a trace of Ghoul Girl. She's completely gorgeous and unselfconscious: the saleable product that is Chloë Lane. She's not a person, she's an album cover. 

She doesn't even notice Brady approach. He reaches nervously for her.

BRADY  
Here. Let me.

CHLOË  
Oh. Thanks.

He steps behind her and takes the chain. She waits patiently. He hooks it, then seems to lose his train of thought in the scent and heat of her. His eyes close. His cheek grazes her hair....

CHLOË  
Got it?

He snaps back.

BRADY  
All set.  
(beat)  
Nice rock.

CHLOË  
Thanks.

She turns to face him, holds out her arms as if seeking approval.

BRADY  
And you have the regulation  
weaponry stashed somewhere?

CHLOË  
Yes sir. Two-shot derringer in  
my bra, and --

She lifts the back of her dress and exposes a whole lot of lovely thigh. Oh, yeah, and there's a KNIFE strapped to it. She drops the skirt again.

CHLOË (CONT'D)  
Just in case.

BRADY  
Allrightythen.

This time she sees his discomfort and it brings on a grin, but she says nothing. She gives him the once-over. She notices the bowtie peeking out of the top of his collar.

CHLOË  
Are you supposed to be my date?

BRADY  
No.

He flips off the coat. Beneath: white shirt and short black jacket.

BRADY  
I'll be your waiter this evening.

EXT. FIFTH AVENUE - NIGHT

Focus on one taxi muddling its way through the mess.

INT. TAXI - CONTINUOUS

Brady and Chloë in the back seat.

CHLOË  
So, once I figure out who the  
ambassador is --

BRADY  
It is embarrassing to me that you  
don't know this.

CHLOË  
Yeah. Pick Yo-Yo Ma out of a line-up  
and we'll talk. So once I spot the  
ambassador --

BRADY  
You've got to find a way to inject  
him with this.

Brady digs into his pocket and produces a tiny black CASE. From said case, he pulls the teeniest SYRINGE you've ever seen. Miniscule, but with a fairly long needle. Chloë takes it with two fingers.

BRADY (CONT'D)  
Careful!

CHLOË  
Lemmie guess. Barbie's Dream Insulin?

BRADY  
That, young Padwan, contains a  
saline solution which in turn contains  
a nanoscopic transmitting device.

CHLOË  
Itty bitty bug?

BRADY  
Itty bitty bug.

CHLOË  
He's not gonna notice when I pierce  
his flesh?

BRADY  
While babe-o-licious superstar   
flashes the killer grin? Not likely.

Despite herself, Chloë looks pleased at the complement.

BRADY (CONT'D)  
And a little cleavage won't hurt.  
(to driver)  
Louis?

LOUIS  
Yes, Agent Black?

BRADY  
Turn down 58th. Let me off in the  
first alley. Then take Chloë on to  
the Plaza.

LOUIS  
Yes sir.

The car pulls over.

BRADY  
(to Chloë)  
Break a leg.

CHLOË  
Thanks.

BRADY  
And try not to screw it up.

She scowls at his back as he steps out of the cab.

EXT. THE PLAZA HOTEL - NIGHT

Establishing shot of the grand old hotel.

INT. MAIN BALLROOM - THE PLAZA - NIGHT

Glitter glitter glitter and A BAND playing Strauss waltzes. Chloë enters the sea of Armani tuxes and Randolph Duke dresses and looks around carelessly.

She spots Brady. He's carrying a TRAY of canapé around. He's also now sporting a fairly amusing fake goatee. As his wandering gaze passes over Chloë, he doesn't show even the faintest spark of recognition. Chloë realizes she is staring at him and looks away.

SERIES OF SHOTS, MOS: Chloë wandering through the crowd, nodding at acquaintances, chatting, dancing. Brady watching but not watching. Chloë shaking hands with THE AMBASSADOR (we know it's him from the sash). More chatting. Drinking champagne. More wandering. 

Chloë walks determinedly forward, passing behind the Ambassador, when suddenly, she stumbles into him.

She grabs his arm for balance. She injects him.

He grabs her arm to stop her fall. Smiles all around: So sorry! Quite all right! Are you hurt? No, I'm fine! etc. She walks on.

END MOS

Later, standing by a pillar, sipping at a glass of champagne, she looks around from waiter to waiter. Finally, she spots Brady, now armed with champagne tray, but --

MAN 1  
Sir? There's a problem.

Chloë freezes. Behind her, TWO MEN in tuxedos are talking.

MAN 1 (CONT'D)  
We have a breech.

MAN 2  
Who?

MAN 1  
Waiter. Right there. The blonde.  
He's ISA.

MAN 2  
You're sure?

MAN 1  
Ran into him once in Senegal.  
I never forget a fist.

MAN 2  
What the hell is he doing here?

MAN 1  
Don't know. Don't think we should  
ask, do you?

Chloë walks slowly away.

She comes up to Brady, drops off her empty glass and grabs another.

CHLOË  
(sotto voce)  
Get out.

BRADY  
(sotto voce)  
What?

CHLOË  
(sotto voce)  
They've spotted you. Get out.

She takes a sip. He fusses with the glasses on his tray. They don't look at each other.

BRADY  
(sotto voce)  
Who's spotted me?

CHLOË  
(sotto voce)  
I don't know. I heard them talking  
and didn't stop to ask names.

BRADY  
(sotto voce)  
You're sure?

CHLOË  
(sotto voce)  
Something about Senegal?

BRADY  
Damn.  
(looks up)  
Damn.

She follows his gaze. 

A TUXEDOED MAN is standing on a balcony above, drawing an automatic PISTOL, adding a SILENCER.

BRADY (CONT'D)  
(sotto voce)  
Get out of here.

CHLOË  
(sotto voce)  
What about you?

BRADY  
(sotto voce)  
Don't worry about me.

CHLOË  
(sotto voce)  
You need a distraction.

BRADY  
(sotto voce; getting angry)  
Chlo', just --

Chloë drops her glass. Wide-eyed, she points at the balcony and screams.

CHLOË  
Oh my god! HE'S GOT A GUN!

Chaos in the ballroom! From the shooter's POV, Brady is lost in a sea of bodies.

Back to Chloë and Brady.

BRADY  
Oh, very nice!

CHLOË  
Shut up and run.

They do.

INT. SERVICE HALLWAYS - THE PLAZA - CONTINUOUS

Brady drags Chloë, stumbling in her heels, through fluorescent-lit halls, looking for an exit. He's furious.

BRADY  
What the hell did you think   
you were doing?

CHLOË  
Hi, once again? Your ass,  
me saving it.

BRADY  
I had it under control.

CHLOË  
(sarcastic)  
Yeah, okay.

AROUND A CORNER

Dead end. They double back.

BRADY  
You could've blown both our covers!  
That was incredibly unprofessional!

CHLOË  
Kinda the point.

BRADY  
What are you talking about?

CHLOË  
You ever heard of a secret agent  
screaming at the sight of a gun?  
(off his look)  
Didn't think so.

ANOTHER CORNER

The connecting hallway is in near darkness but very long. There's an emergency exit at the end. They start down it. Suddenly --

BRADY  
(sotto voce)  
Back!

He throws an arm across her and slams them both flat against the wall. They barely breathe.

Far at the other end of the hallway, A SILHOUETTE holding a gun appears. He is joined by a second. There are voices, but too far away to hear.

From the Silhouette's POV, a dark, empty hallway. Then, a tiny flash.

SILHOUETTE  
There!

Back to Brady and Chloë.

BRADY  
You are way too shiny.

He pulls out a GUN. The silhouettes are coming.

BRADY (CONT'D)  
Go. I'll cover you.

CHLOË  
But --

BRADY  
Go!

She dashes for the door while Brady lays down covering fire. Bullets fly. He follows. The door slams behind them.

ON THE STAIRS

They run. The door opens behind them and one of the gunmen follows. At the bottom landing, Chloë tries the door. It's locked. Brady throws a shoulder into it and it gives. A bullet flies past them. Chloë pulls her tiny DERRINGER, turns, fires off two (lousy) shots, and Brady drags her out the door.

EXT. ALLEY - CONTINUOUS

The alley is blocked from the street beyond by a ten-foot-high GATE. Brady boosts Chloë, but as she starts to climb, the gunmen emerge from the door. He pulls her off the gate and behind the dumpster.

More shots. Brady leans out from behind the dumpster and fires.

WHAM. One gunman goes down.

Brady fires again. CLICK. No ammo.

Brady lunges behind the dumpster and grabs Chloë's skirt, tries to throw it over her head. She slaps him away.

CHLOË  
What the hell are you --

BRADY  
The knife! Oh, forget it.

He grabs the hairstick from her hair, leans out, and HURLS it.

The gunman screams as the stick goes into his chest.

Behind the dumpster --

CHLOË  
Whoa.

BRADY  
Watch and learn, kid. Climb. Now.

She obeys.

EXT. STREETS OF NEW YORK - NIGHT

Brady and Chloë run from alley to alley, watching over their shoulders.

EXT. CHLOË'S APARTMENT - NIGHT

Two shadowy figures run behind the building. One glimmers a little.

INT. CHLOË'S APARTMENT - CONTINUOUS

A window flies open and Chloë tumbles in and lands on the floor. Brady follows. He helps her to her feet. They're both panting.

CHLOË  
Ohmigod.

BRADY  
You okay?

CHLOË  
I'm fine. You?

BRADY  
I'm good. You sure you're okay?

CHLOË  
Yeah, I'm just...that was just...that  
was the most incredible...ohmigod.

BRADY  
(grins)  
Best high there is.

CHLOË  
It's amazing. I'm like shaking all   
over. I feel so...so....

She looks at him, and we realize she's not just excited. She is very, very turned on.

Brady notices too. He waits.

Chloë reaches out and tears the fake goatee from his face.

BRADY  
(laughing)  
Ow!

She giggles. He waits. 

She grabs his lapels and flips the jacket off his shoulders, trapping his arms at the elbows and pulling him closer.

He shakes the jacket off and grabs the straps of her dress.

SNAP.

The dress slithers to the floor, leaving her in bra, panties, and knife holster. 

She pulls his tie loose. She begins unbuttoning his shirt. She pulls. Buttons pop off.

Brady grabs her leg. She grabs his shoulders for balance, her nails cutting in. He unstraps the knife, tosses it on the couch. She laughs and strips his shirt from him. He laughs too. She begins walking backwards, leading him by the arm into the bedroom. They kick off their shoes as they walk, eyes locked together, intense, all wicked smiles.

IN THE BEDROOM

Brady grabs Chloë around the waist and throws her onto the bed.

She scrambles to her knees and grabs his belt. She unbuckles it and whips it off him.

He grabs her shoulders. They grapple, laughing again. He pounces and they wrestle across the bed.

Finally, panting again, Brady overpowers her, or Chloë lets him. He pins her wrists to the bed with his hands, and the rest of her body with his body. They stare intensely into each others' eyes, giggling a little.

Then Brady's expression softens. He looks at her lips.

Chloë looks uneasily at him. 

CHLOË  
Don't --

Too late. He kisses her.

Chloë tries to fight it, tries to turn her face away, but the kiss is hard and presses her into the mattress, trapped. Then, slowly, she gives in.

Brady releases her hands. They wrap their arms around each other as the kiss deepens.

Finally, he breaks it off. He begins kissing her neck, her shoulder.

BRADY  
(muttering)  
Chloë. oh God, Chloë. Tell me  
it's not too late. Tell me I can  
make you love me again.

CHLOË  
I never stopped. Not for a second.

They kiss again. Brady begins to move and Chloë begins to moan. They make love violently, still rough but somehow no longer a battle, and we --

OVERLAP TO:

INT. CHLOË'S BEDROOM - MORNING

Chloë is asleep. Hair mussed, what's left of her makeup smeared, she looks peaceful and blissful. She stretches a little, coming around. Then --

Her eyes pop open, horrified.

She sits up, clutching the sheet to herself. She looks at the other side of the bed. Empty. 

Distantly, we hear kitchen clanking and a soft sizzle. 

INT. CHLOË'S APARTMENT - CONTINUOUS

Chloë emerges from the bedroom, clutching the neck of her bathrobe shut.

Brady stands at the stove wearing the remains of last night's clothing. He is cooking BACON (turkey bacon, of course). He is cooking it with intensity. He is cooking it with determination. He is, in no way, to be distracted from the bacon. This bacon is essential. He frowns at it. 

CHLOË  
Hey.

Still, Brady is one with the bacon.

BRADY  
Hey.

She watches him a while longer. He flips the bacon, very seriously.

CHLOË  
Quite a night last night, huh?  
(long beat)  
That adrenalin stuff. What a kick.  
(long beat)  
Like a drug. Makes you a little crazy.   
(long beat)  
Makes you do things...and say things  
you wouldn't usually. Say. Or do.  
(long beat)  
Y'know?

BRADY  
Yeah.

Brady takes the bacon from the pan and sets it aside to drain. He turns off the burner, tosses the pan in the sink, and finally turns to Chloë, but he doesn't meet her eyes.

BRADY (CONT'D)  
I should...uh...go.

CHLOË  
Okay. Yeah.

BRADY  
We've got a debriefing at noon. I  
wanna go get cleaned -- go, y'know...

CHLOË  
Yeah. Of course.

BRADY  
So. I'll catch you later then.

CHLOË  
Yeah.

BRADY  
Bye.

He heads for the front door.

CHLOË  
Should you -- I mean --

BRADY  
Don't worry. I won't be seen.

CHLOË  
Okay.

He stops, looks at her, looks away.

BRADY  
Bye.

He leaves.

CHLOË  
Bye.

She sighs and looks at the PLATE on the kitchen counter.

Brady has made an entire package of bacon.

She smiles at it, a little sadly.


	3. Connect the Dots

INT. SHANE'S OFFICE - DAY

SHANE (O.S.)  
You should both be very satisfied  
after last night's performance.

Chloë and Brady squirm in Shane's chairs, not looking at each other. 

Shane sits behind his desk, smiling proudly, seemingly unaware of the discomfort of his employees and the double entendres in his words.

SHANE (CONT'D)  
Certainly, it was a bit messy, but  
you got in, got the job done, and  
got out, and that's the important thing.

Chloë chokes on her tea. Brady leaps in to cover.

BRADY  
So the injection --  
(cringes)  
I mean, the transmitter that Chloë  
planted is working?

SHANE  
Perfectly. Congratulations, Agent  
Lane, on a successful first  
assignment. Though if I were you  
I would consider making less  
noise next time 'round.

Brady laughs and turns it into a cough. 

CHLOË  
(over the cough)  
So, what's our next assignment?

SHANE  
Something a bit more dangerous   
this time....

Shane collects his paperwork. Chloë and Brady settle into their seats and sigh.

CHLOË AND BRADY  
(sarcastic)  
Oh, goody.

Shane raises an eyebrow at them. They glare at each other, then turn away to hide grins.

INT. PALATIAL ROOM - DAY

Pan along a series of floor-to-ceiling French doors, their curtains drawn back and letting blinding-bright sunlight into the room that throws furniture and occupants into sharp, dark relief. A MAN stands near the last window, looking out, back to us. We cannot even make out the color of his hair. He holds a crystal glass full of amber liquid, which throws rainbows around the room as he swirls the drink gently.

From the OPPOSITE ANGLE, two well-dressed FLUNKIES stand near an opulent Louis XIV writing desk. They squint at the shadow of her leader.

FLUNKY 1  
We've confirmed that the agent  
was Brady Black, sir.

Close on the man's glass. Swirl, swirl, swirl.

FLUNKY 1 (CONT'D)  
As for the woman with him...  
it may have been her.

Swirl, swirl, stop. 

FLUNKY 2  
The agents aren't certain, sir.  
She was tall and dark haired  
and wearing a silver dress. But  
that could be any of a dozen of  
the women at that party.

FLUNKY 1  
(long beat)  
Sir?  
(beat)  
What are your orders?

The man HURLS the glass against the window. It shatters.

EXT. FIFTH AVE. - MANHATTAN - DAY

A taxicab pulls up at the curb and is immediately mobbed by PHOTOGRAPHERS. There are, incidentally, more Asians in this group than might be expected statistically. That's because, after Chloë steps out of the cab, she is followed by --

SHANE (V.O.)  
The Princess Aikiko.

-- a pretty, 18-year old Japanese girl. She and Chloë put an arm around each others' shoulders and smile for the cameras.

SHANE (CONT'D; V.O.)  
Apparently, she's quite a fan of  
yours, Agent Lane. Which is  
convenient for us, as her upcoming  
visit to New York would otherwise  
present a security problem.

Chloë and Aikiko answer questions from the paparazzi MOS.

SHANE (CONT'D; V.O.)  
As it is, we can set up a meeting  
as a PR event, and you can act as  
her bodyguard.

CHLOË (V.O.)  
Why is she in New York?

SHANE (V.O.)  
Ostensibly, she's here to tour   
the universities. We suspect,  
however, that like most girls her   
age she's far more interested in   
shopping.

Chloë and Aikiko are followed by reporters right up to the doors of BLOOMINGDALE'S.

CHLOË (V.O.)  
Okay, but why so much security?

SHANE (V.O.)  
Because we also suspect that Yios O  
has some designs on her.

BRADY (V.O.)  
Y'see, among other things, our  
Big Bad Wolf has a few million  
barrels of illegal Iraqi oil stashed  
away somewhere, and he'd like the  
Japanese government to buy it.

INT. BLOOMINGDALE'S - CONTINUOUS

Chloë and Aikiko enter, chatting and giggling, surrounded by obvious bodyguards. They pass Brady, who looks like a plain ol' customer in jeans and t-shirt, walking in the opposite direction. No eye contact is made, but after he passes, he adjusts the listening device in his ear.

SHANE (V.O.)  
Threatening a member of a royal   
family is fairly traditional practice   
in these cases. Though Aikiko is   
only a distant cousin of the Emperor,  
and the Emperor is something of a  
figurehead himself, she's a celebrity   
in her own right in Japan. Enormously  
popular, very public. There would  
be an horrendous outcry if she were  
to come to harm. The government  
might agree to his terms simply  
to cover it up.

Chloë and Aikiko lean over a counter full of fine jewelry. Aikiko points to certain items. Chloë feigns attention, but she can't help scanning the passersby suspiciously.

CHLOË (V.O.)  
You think he's coming after her?

SHANE (V.O.)  
Yes, thanks to information   
retrieved from your last escapade.

BRADY (V.O.)  
It wasn't so much an "escapade"  
as a "broo-ha-ha."

CHLOË (V.O.)  
Hm. I'd have to go with "Shenanigans" there.

SHANE (V.O.)  
Can we please focus on the mission?

BRADY AND CHLOË (V.O.)  
Sorry.

INT. MISSES DRESSES - BLOOMINGDALE'S - LATER

Chloë and Aikiko root through the racks, occasionally holding things up to each other. Bodyguards surround them, looking formidable and grouchy. 

SHANE (V.O.)  
With both of you in the same place at  
the same time should be too much for   
our villian to resist. He's bound to   
make a move. At any rate, you, Chloë,  
will be the princess' last line of defense.  
Guarding you both will be her usual bodyguards.  
Finally, Brady will lead a discreet undercover   
team of ISA operatives at an   
appropriate perimeter.

INT. SECURITY OFFICES - BLOOMINGDALE'S - CONTINUOUS

Brady enters the office and flashes his badge to one of the GUARDS. The guard stands and offers Brady a seat at the bank of SECURITY MONITORS. Brady sits heavily, with a tired sigh.

BRADY (V.O.)  
What about communications?

SHANE (V.O.)  
We will have Agent Lane "wired  
for sound," as they say.

Brady finds Chloë on a monitor. PUSH IN on the image to Chloë, her jacket, and finally, her lapel, where a funky, gaudy PIN is pinned.

Suddenly, the pin is obscured by a fall of flowery fabric.

AIKIKO (O.S.)  
What about this?

INT. MISSES DRESSES - CONTINUOUS

END MOS

Chloë looks doubtfully at the dress Aikiko has held up to her. 

CHLOË  
Y'think?

AIKIKO  
Totally!

CHLOË  
Isn't it a little...?

She gestures to her chest.

AIKIKO  
Yes, but you're a little....  
(same gesture)  
I could never pull it off. I have no  
(same gesture)  
at all.

CHLOË  
Oh, stop. I'd kill to be as thin  
as you.

AIKIKO  
Boys aren't into skinny. Only  
fashion designers think I've  
got a better body than you.

CHLOË  
Which means you get all the  
great clothes.

AIKIKO  
I think that dress will be   
amazing on you. You should  
try it on.

CHLOË  
All right. I will.

AIKIKO  
Y'know something? I am  
having the best time. I know  
this was all just a publicity  
stunt for you, but I'm so glad  
you agreed to do it.

CHLOË  
(genuine)  
So am I. And I am having   
a load of fun. I can't even   
remember the last time  
I had this much girl talk!

AIKIKO  
'Cause you're always surrounded  
by guys, right?

CHLOË  
Yeah, but not in a good way.  
Agents, managers, producers,  
body guards --

AIKIKO  
Russell Crowe.

CHLOË  
Total fabrication! I met the  
guy once, for like, two seconds,  
and the tabloids say we're having  
this raging affair.

AIKIKO  
You aren't?

CHLOË  
Nope.

AIKIKO  
Darn!

CHLOË  
Sorry to disappoint.

AIKIKO  
(wheedling)  
So...are you having a raging  
affair with anybody?

IN THE SECURITY ROOM

Brady leans forward a little, listening intently.

IN THE MISSES DEPT.

Chloë ponders this. Finally --

CHLOË  
No. There's nobody.

IN SECURITY

Brady's not sure whether to be relieved or insulted.

IN THE MISSES DEPT.

Chloë and Aikiko sigh.

CHLOË (CONT'D)  
(brightly)  
Dressing room?

AIKIKO  
Let's.

INT. DRESSING ROOM - LATER

Chloë is slithering into the silk shift Aikiko picked out for her. She looks at herself in the mirror. It certainly does show off her (*ahem*) assets. She shakes her head.

AIKIKO (O.S.)  
Well?

CHLOË  
I dunno. It's a bit much. Or  
maybe not enough, if you  
know what I mean.

AIKIKO (O.S.)  
Lemmie see!

Chloë leaves her room, leaving her jacket and pin-mike on a stool in the corner.

IN AIKIKO'S ROOM

The princess is struggling with the zipper on her dress. Chloë moves in to help her. They giggle as with much struggle they get the zipper up. Then --

BLACKOUT

The dressing room is thrust into darkness. Aikiko yelps. The emergency lights pop on, lighting the room with a dim red glow.

AIKIKO  
What's --

CHLOË  
Shh!

OUTSIDE THE ROOM

The bodyguards pull their weapons and look around. Nothing but reddish shadows. One moves out to scout the perimeter.

IN SECURITY

Brady shouts at the remaining guard. The monitors are blank.

BRADY  
What the hell is going on?!

GUARD  
I don't know, sir. Looks like  
the whole building's gone dark.  
Could be the whole grid.

Brady whips out a walkie-talkie.

BRADY  
I need two agents to the fifth  
floor now. Get me a status on  
the princess and Chloë.

IN MISSES

Aikiko's guard walks cautiously around a group of mannequins. From behind him, TWO HANDS reach out and

SNAP

Then

SNAP

The same happens to the neck of the guard outside the dressing room. He crumbles without a sound.

IN AIKIKO'S ROOM

Chloë looks around and spots a VENTILATION PLATE in the ceiling above. She climbs onto the stool and tries to YANK the cover off, to no avail. 

Then she hears FOOTSTEPS.

Swearing silently, she jumps off the stool, grabs Aikiko, and, putting a finger to her lips, positions the girl in the corner, half hidden behind the hook full of dresses. Then she positions herself inside the door, in fighting stance, fists raised.

STEP

STEP

STEP

Getting closer.

IN THE DRESSING ROOM HALLWAY

From our stalker's POV, he passes one empty room, then the next, then the next, peering through the open door into each room.

He passes the room Chloë was using, stops, sees her clothing in a heap on the floor. Then he looks at the next, closed door.

INSIDE THE ROOM

Chloë tenses as the footsteps stop. 

The doorknob rattles.

The door BURSTS OPEN.

Chloë bares her teeth and is about to strike when she FREEZES.

Starting at his feet, we pan up his body to his gently smiling, all-too-familiar face.

PHILLIP  
Hey, Chloë.

Beat.

She KICKS him in the face. He crumbles. She grabs Aikiko's wrist.

CHLOË  
Come on!

Chloë starts running, drags her out of the room, through  
MISSES

into

A STAIRWELL, where

Aikiko SCREAMS as they stumble across the body of a FEMALE ISA AGENT, lying across the stairs, her neck broken, her gun drawn but never fired. 

Chloë jumps over the body, taking Aikiko with her, and starts running down the stairs.

CHLOË (CONT'D)  
Brady!

IN SECURITY

Brady paces.

BRADY  
Dammit, people, I said report!

Frustrated, he clips the walkie-talkie to his belt and runs out.

ON THE MAIN FLOOR

Panicking SHOPPERS are being herded out the door by SECURITY GUARDS. Brady fights his way upstream, joined by three OTHER AGENTS toward the

STAIRWELL

Where Chloë is still dragging the terrified princess and hollering.

CHLOË  
Brady! Where the hell are you?!

AIKIKO  
Wh...who are you talking to?

CHLOË  
Oh, crap. The pin. The pin!

AIKIKO  
Chloë --

CHLOË  
Oh, God. We're alone. Oh God  
oh God oh God oh God oh --

AT THE BOTTOM OF THE STAIRS

Brady and the agents are rushing up.

BRADY  
Chloë!

She hears him.

CHLOË  
Brady!

She picks up even more speed, until

SMACK

Chloë and the princess run into the muddle of agents. She thrusts Aikiko into their arms.

CHLOË  
Get her out of here!

BRADY  
It's okay, we've --

CHLOË  
No! We've got to run!

She takes off. The agents hustle a confused Aikiko away while Brady follows Chloë

DOWN THE STAIRS

and

OUT THE EMERGENCY EXIT

into

EXT. ALLEY - CONTINUOUS

Where he finally catches up to her and grabs her around the waist, hauling her into the air.

BRADY  
Chloë! Chloë! Agent Lane!

CHLOË  
We've got to get away from here!

BRADY  
What the hell is the matter with you?

He puts her back on her feet and shakes her.

CHLOË  
You have to run. You can't let him --

BRADY  
Can't let who?

CHLOË  
(screams)  
PHILLIP!  
(beat; barely audible)  
It was Phillip...

Brady looks at her for a long, incredulous beat.

He grabs the walkie-talkie.

BRADY  
This is Brady Black to all  
agents. I need this building  
locked down. NOW.


	4. The Shortest Distance

INT. CONFERENCE ROOM - ISA HEADQUARTERS - DAY

Shane sits at the table, along with Chloë and Belle. Chloë has her knees drawn up to her chin and covers her mouth with one hand. Belle has an arm around her but looks helpless to comfort her. Brady paces, kicking furniture, throwing punches at nothing.

BRADY  
(muttering)  
Unbelievable. Un-be-freakin'-  
leavable.

CHLOË  
(whispering)  
He was dead. He was supposed  
to be dead. Brady killed him.  
He's supposed to be dead.

BRADY  
How is it possible that we didn't  
have a scenario on this?

CHLOË  
He's supposed to be dead.

BRADY  
How is it that no one knew   
he was still alive?

Shane and Belle shoot each other a guilty look. Brady sees it. He turns to Shane.

BRADY (CONT'D)  
You knew. You son of a  
bitch. You knew.

SHANE  
Agent Black --

BRADY  
Why didn't you tell me?!

Brady picks up a chair and throws it across the room.

SHANE  
Agent Black. You calm down  
right now or I will calm you   
down myself. Understood?

Brady stands still, fists balled, and glares at him.

BELLE  
It wasn't Shane. It was me.

Brady and Chloë turn to her, shocked.

BELLE (CONT'D)  
When I did the original profile,  
I found a bunch of things. Not  
just the obsession with Chloë.  
There was also evidence of   
psychosis...and financial connection  
with the Kiriakis empire. But,  
like Chloë said, he was supposed  
to be --

CHLOË  
Dead.

SHANE  
So I asked her to leave her  
suspicions out of her report.

BRADY  
Why the hell would you do that?!

SHANE  
I thought it best for the operation.

BRADY  
To keep us in the dark?!

SHANE  
Do you honestly think it would have  
improved your performance if  
you'd known? Yes, we had our  
suspicions, but I wasn't about to  
have one of my best agents   
running off like four of the Seven  
bloody Samurai, getting himself  
killed, and possibly others as  
well! Not to mention, if you'd known  
there was even a possibility of  
Yios O being Phillip Kiriakis you  
wouldn't have allowed Chloë  
within a hundred-and-fifty miles  
of this operation --

BRADY  
You're damn right I wouldn't!  
And as a matter of fact, I am  
taking her out of here right now,  
getting her on a plane, and   
taking her far away, somewhere  
Phillip can't get his hands on her.

SHANE  
And where exactly would that be?

Silence. 

Brady kicks another chair in frustration.

CHLOË  
(softly)  
So what now?  
(beat)  
What do we do now?

Brady looks at her with disbelief. 

INT. HALLWAY - ISA HEADQUARTERS - LATER

Brady and Chloë walk slowly down the hall toward the exit. Brady stops her with a touch on the arm.

BRADY  
You don't have to do this.  
(beat)  
Say the word and I'll take you  
out of here.

CHLOË  
Shane's right. There's nowhere  
to run to.

BRADY  
I'll find somewhere.

CHLOË  
We have a job to do.

BRADY  
Why won't you let me take  
care of you?

CHLOË  
Why do you think I need taking  
care of?

BRADY  
Because I know what he did  
to you.  
(beat)  
And I know he's the only  
thing in this world that  
you're afraid of.

She looks away. Almost unconsciously, her hand slips inside her shirt collar and rubs her shoulder.

Brady gently pushes her shirt and her hand aside, revealing the faint, almost unnoticeable BULLET SCAR on her shoulder.

CHLOË  
Sometimes, I still have that dream,  
y'know, when I wake up in the middle  
of the night, and for just a half  
a second, I...I can't make a sound.  
(re: scar)  
And sometimes, it's like I can still  
feel....

BRADY  
I know.

She pushes his shirt open, revealing his almost identical SCAR, from Phillip's stabbing. She stares at it as she speaks.

CHLOË  
I wish I could be as brave as  
you. You're not afraid of anything,  
are you?

He touches her cheek.

BRADY  
Not of him.

She looks up. Their eyes meet, and neither can move, neither can speak.

Down the hallway, Belle and Shane round the corner, with two AGENTS in tow.

SHANE  
Agent Lane, your --

BELLE  
Shh!

She puts up a hand, and they all stop. 

Brady and Chloë remain still for a moment longer. Belle watches them, and seems to realize what is happening, what has happened.

Chloë smiles bravely at Brady. She puts her hand over his, then squeezes.

She turns and walks toward the group of agents.

INT. CHLOË'S APARTMENT - NIGHT

The agents from above stand guard outside Chloë's bedroom

IN THE BEDROOM

Chloë tosses and turns, unable to sleep.

EXT. CHLOË'S APARTMENT BUILDING - CONTINUOUS

Across the street, Brady stands huddled in the shadows, watching the building. He tries to take a sip from his TAKEOUT COFFEE, then realizes it's empty. With a sigh, he tosses the cup into the dumpster behind him in the alley, then resumes his vigil.

CU of his face. He jumps as

ANOTHER COFFEE

is thrust in front of his face. He takes it with a grin.

BRADY  
Thanks, Tink.

Belle leans against the wall beside him, sipping at her own coffee. After a while, she speaks.

BELLE  
Y'know, life expectancy for  
a white, American male these  
days is 78 years?

BRADY  
Fascinating. Yet random.

BELLE  
In our business, it's 52.  
(off his look)  
Life is way, way too short for  
you to be standing down here  
when you belong up there.

Brady watches her as she walks away.

EXT. AN AIRPLANE

soars through the sky.

INT. FIRST CLASS - THE AIRPLANE

Chloë leafs through a magazine, trying not to look nervous but for the most part failing. 

PILOT (O.S.)  
(over loudspeaker)  
Ladies and gentlemen, I'd like  
to ask you to take your seats as  
we begin our final descent into  
Los Angeles....

Chloë settles into her seat, clenching her fists.

EXT. NBC STUDIOS - DAY

Establishing shot of the busy lot.

INT. HALLWAY - SOMEWHERE ON THE LOT

A tall YOUNG MAN with long black hair slicked back into a ponytail, a pencil moustache, one gold earring, and an expensive-looking suit strides confidently down the hall, glancing at doors as he passes them. Techies who pass him in either direction don't give him a second glance. 

Finally, he finds the door he's seeking and knocks perfunctorily, throwing the door open without waiting for an answer.

INT. DRESSING ROOM - CONTINUOUS

Chloë looks up from the mirror, startled, reaching for her weapon.

CHLOË  
Excuse me, who the...Brady?

Our eurotrash friend, now obviously Brady, grins. He holds out his arms and twirls.

BRADY  
Like the threads?

CHLOË  
You look like a Parisian pimp.

Brady contemplates this.

BRADY  
Thank you. How're you doing?

CHLOË  
Somewhere between a bit  
freaked and totally wigged.

BRADY  
(concerned)  
You can still back out of this.

CHLOË  
You know I can't.

Brady nods. He sits on the couch.

BRADY  
All right. Has Jay been --

Another knock at the door. They both reach for weapons, then catch themselves and grin.

CHLOË  
Come in!

The door opens and JAY LENO enters the dressing room.

JAY  
Hey, Chloë, good to see you.  
Welcome to the show.

CHLOË  
Thank you.

JAY  
I just wanted to sit down with  
you for a minute, sort of a   
pre-interview, you know. Give  
you an idea of the questions I'm  
going to ask. You can let me know  
if there's anything in particular  
you need me to bring up, or to  
avoid for that matter.

CHLOË  
Actually, yes, there is one thing  
I'd like you to ask me about.  
(glances at Brady)  
I need you to ask me about  
my divorce.

JAY  
(beat; surprised)  
Um...you sure about that?

CHLOË  
Yes. Very sure.

JAY  
Because, I gotta tell you, most  
guests would rather not have  
their personal lives paraded in  
front of millions of --

CHLOË  
I understand that, Mr. Leno --

JAY  
Please! Jay!

CHLOË  
Right. Jay. I know it sounds really  
strange, but it's something I need  
to talk about in public --

JAY  
But are you sure this is the best  
time to do it? The tabloids  
have just quieted down about  
you. Do you really think it's  
the time to --

BRADY  
Jay.  
(Jay looks)  
Company business.

Jay squints at Brady for a long beat.

JAY  
Brady?

BRADY  
Hey, man.

JAY  
(sarcastic)  
Nice disguise.

BRADY  
"Parisian Pimp."

JAY  
It's workin' for ya. So this is  
on the clock?

BRADY  
Yup.

JAY  
That's all I needed to know.

CHLOË  
Hold it a second....

They look at her. Wide eyed, she points to Jay.

CHLOË (CONT'D)  
He's ISA?

Jay sticks out his hand. She shakes it tentatively.

JAY  
Agent Leno, Propaganda  
and Disinformation. Welcome  
aboard.

CHLOË  
I don't believe this.

BRADY  
The world is a strange and  
wonderful place.

JAY  
So, one more question. With this  
divorce thing, do I go for the  
jugular or just rattle the cage  
a little?

BRADY  
Down boy. Just ask the question  
and let her do the talking.

JAY  
You were more fun in Senegal.  
(to Chloë)  
Well, Agent Lane, time's up. I'll  
see you out there.

He stands and heads for the door. Brady stands and opens it for him. At the threshold, he whispers to Brady.

JAY (CONT'D)  
This mean you two are...?

BRADY  
Keep you posted.

He hustles Jay out and closes the door behind him. He turns to Chloë.

BRADY (CONT'D)  
Status report.

CHLOË  
Totally wigged. Sir.

BRADY  
I'm not gonna let him hurt you.

CHLOË  
(smiles; long beat)  
You really think he'll show?

BRADY  
He's gonna be wherever you are. You  
just go out there and be beautiful  
and tell him what he wants to hear.  
Then we can catch him and I can bash  
his goddamn skull in.  
(uncomfortable beat)  
I've got something for ya.

CHLOË  
(brightening)  
Prezzie?

BRADY  
Not exactly.

He crouches beside her and takes a SMALL VELVET JEWELRY BOX out of his pocket. He opens it. Inside, a pair of SIMPLE GOLD EARRINGS.

He takes one out and hands it to her.

BRADY (CONT'D)  
Left ear.

Obediently, she puts it in.

CHLOË  
What is it?

BRADY  
It's an earring.  
(holds up the other earring)  
But this one, it's a fun new toy   
the guys in Tech like to call a   
"Direct Neural Stimulation   
Transceiver." Right ear.

She obeys.

BRADY (CONT'D)  
It will operate as both an earphone  
and a microphone, but only as long  
as the post is in direct contact with  
your body, preferably as close to  
the auditory nerve as possible. It  
transmits impulses directly into  
the nerve and picks up vocalizations  
the same way, bypassing the whole  
pesky sound thing. It picks up the  
smallest of whispers, and it's totally  
silent to anyone who's not touching it.   
The only thing that can pick up its   
signals is this.

He taps his own earring.

CHLOË  
So you can hear me --

BRADY  
And you can hear me.

CHLOË  
But no one else can hear what  
we're hearing.

BRADY  
Exactly.

CHLOË  
Pretty neat.

BRADY  
I thought so.  
(beat)  
Almost time. Last chance.

CHLOË  
Wish me limb damage.

BRADY  
Break a leg.

He stands, takes her by the nape of the neck, and kisses her forehead. Impulsively, she tilts her head back and gently kisses his lips.

The kiss breaks. Neither of them quite knows what to make of it. 

Brady clears his throat, and then walks out.

Chloë turns to the mirror to touch up her lipstick, and her fear is clear on her face.

INT. ON THE SET - THE TONIGHT SHOW - LATER

The audience is laughing and cheering at whatever was just said. Chloë sits in the interview chair, looking cool and confident. Jay is behind his desk. They are laughing along with the audience.

JAY  
So, what you're saying is, no  
more parasailing for Chloë Lane.

CHLOË  
Definitely not!

JAY  
Okay, good to know. 'Cause,  
y'know, extreme sports are a  
big change for you. In fact,  
you've been going through  
a lot of changes lately, am I  
right?

CHLOË  
(more seriously)  
Yes. Yes I have.

JAY  
You were recently...well,   
recently divorced.

CHLOË  
I was.

JAY  
That's...not the easiest thing  
in the world.

Chloë is the picture of gentle regret.

CHLOË  
Definitely not. But, y'know,  
sometimes the right thing isn't  
the easy thing. It's hard, it's  
hard to take a look at your   
whole life, something that's  
been a part of you for so many  
years, and say "This isn't  
good anymore. This isn't what  
I should be doing." But once  
you realize that, you can't  
let it go on. You have to  
make the change....

IN THE AUDIENCE

Disguised Brady slips into the theater and looks around cautiously.

ON STAGE

Chloë continues.

CHLOË (CONT'D)  
...Ultimately I realized that what  
I thought I wanted wasn't right  
for me...

AUDIENCE

Pan along a row to reveal Phillip, sitting low in his seat, watching intently.

Brady looks around, does not spot him.

CHLOË (CONT'D; O.S.)  
...that I had made a mistake.

Ouch! Brady felt that one. He scowls at the

STAGE

Where Chloë shrugs philosophically.

CHLOË (CONT'D)  
But I'm looking forward to  
some new horizons. Or maybe  
revisiting some old ones I'd  
abandoned a long time ago.

AUDIENCE

Phillip perks up.

STAGE

JAY  
Well, we all wish you happiness  
and the best of luck, right folks?

The audience cheers.

JAY (CONT'D)  
So, speaking of new horizons --

CHLOË  
Nice segue.

JAY  
Thank you! Speaking of new  
horizons, you have a new  
album coming out, is that  
correct?

CHLOË  
Yes, on Friday! And I'm so   
excited about it!

JAY  
And I've heard it -- it's   
wonderful of course -- and it  
is breaking a bit of new ground  
for you, isn't it?

CHLOË  
It is. I've done something   
totally new for me on this one.  
Most of my albums, there's a  
little bit of opera, a few old  
standards, a few show tunes,  
that sort of thing. But this time,  
I'll be singing a brand new  
song.

JAY  
And that's the title track,   
"Endless Circle."

CHLOË  
Yes. It was written by a pair  
of wonderful, New York-based  
songwriters, Julie Flanders and   
Emil Adler. They write the most  
amazing, beautiful songs, and  
as soon as I heard this one....  
It just, it really spoke to me,  
to where I was at the time in  
my life. It really touched me.  
It still touches me. So I took  
it into the studio and we pulled  
it together and we all liked  
it so much that it became the  
title track, which is really, for  
me, different and exciting.

JAY  
And that's what you're gonna  
sing for us now?

The audience cheers.

CHLOË  
(over cheering)  
Yes, but...but hold on! Hold  
on! One warning. I have never  
actually performed this in front  
of an audience before. So only,  
like, four...no, five people in  
the entire world have ever  
heard me sing this. 

JAY  
So it's yet another new horzon!

CHLOË  
Yes, but like with the parasailing,  
there's a huge possibility that I  
will mess this up completely --

JAY  
Oh, stop it. You'll be wonderful  
as always.

CHLOË  
I will try!

JAY  
That's all we ask. Ladies and  
gentlemen, the album is called  
Endless Circle. The song is  
called "Endless Circle." The  
singer is called Chloë Lane. Let's  
give her a big round of applause!

The audience cheers again as Chloë walks to the other half of the stage, where a TWO MUSICIANS (harpsichord and classical guitar) wait for her. 

AUDIENCE

Brady looks around, growing more frustrated by the second, then --

STAGE

Chloë steps up to the mike as --

BRADY (O.S.)  
I got him.

She loses her composure for half a second, then smiles, flips her hair, and nods to the musicians, who begin to play.

CHLOË  
(sings)  
It was stormy from the start.  
You were raining in my heart  
like a thousand tears of laughter.

BRADY turns from his prey to the stage, surprised by what he hears.

CHLOË (CONT'D)  
(singing)  
It was easy to ignore  
everything that came before  
in the hope of something after.

PHILLIP sits forward a little, surprised too.

CHLOË closes her eyes, putting her all into it.

CHLOË (CONT'D)  
Well, I find myself letting go  
of nothing,  
holding on  
to another time.  
Sometimes cruel, sometimes kind.  
Even when you hurt sometimes,  
you were mine.

INTERCUT their three faces, as Chloë becomes lost in the song and Phillip and Brady each begin to hope, "Is this about me?"

CHLOË (CONT'D)  
(singing)  
At the end  
of an Endless Circle,  
I know  
what I'm searching for.  
Somehow,  
every time that I leave you,  
I love you  
even more.

BRADY remembers, in flashes, through the next verse:

Meeting Chloë on the docks.

The first time their fighting turned to laughter.

Finding Chloë after the Last Blast, her devastated face.

Singing together: "Sixteen going on Seventeen," "People Will Say," "O Holy Night."

Their first kiss, New Year's.

Seeing the bruises on her neck the morning after.

Kissing her on the penthouse stairs and her struggling away.

Phillip holding a gun to her head, both of them covered in blood.

Chloë trying to pull him back onto the bridge.

Chloë in her gypsy costume.

Chloë and he playing tag among Christo's "Flags" in Central Park, laughing.

Chloë in her wedding dress.

CHLOË (CONT'D)  
What is borrowed? What is blue?  
What is lost inside of you?  
What is waiting to be broken?  
With a kiss or with a dare,  
there's a truth you can't repair,  
with a love that isn't spoken.  
Will we ever be less alone  
together,  
on our way  
to a separate peace.  
Nothing better,  
nothing worse,  
nothing but the universe  
to deny.

STAGE

Chloë continues.

CHLOË (CONT'D)  
(singing)  
At the end  
of an Endless Circle  
I know  
what I'm searching for.

BRADY shakes himself, looks at Phillip, and recognizes that look. His face falters, "Maybe it's about him."

CHLOË (CONT'D)  
(singing)  
Somehow  
every time that I  
leave you  
I love you  
even more.

PHILLIP remembers, through the bridge:

Taking Chloë's glasses off.

Their first kiss.

Standing by "their" tree.

Yelling outside the movie theater.

His distorted memory of Brady choking her.

Seeing her in the courtroom.

On the bridge, in his arms, Chloë lies about them being alone.

CHLOË (CONT'D)  
(singing)  
Please,  
rescue me  
from that look  
in your eyes.  
I'm  
not afraid  
of the truth  
in your lies.

CHLOË searches the audience, but

HER POV, just a sea of silhouettes. Still, she reaches out toward where she feels Brady must be, and she's right.

CHLOË (CONT'D)  
(singing)  
In my heart and in my soul  
you're the part that keeps me whole.  
You were always my redemption.

PHILLIP cocks his head. Who is she looking at?

CHLOË (CONT'D)  
(singing)  
Something borrowed,  
something blue.

He turns. He spots Brady. Brady knows he's been seen.

CHLOË (CONT'D)  
(singing)  
Something that has gone in you,  
oh, something true.

QUICK INTERCUTS of their faces: Chloë's soul-bearing, Phillip's growing fury, Brady's momentary fear, replaced by defiance, over and over, faster and faster.

CHLOË (CONT'D)  
(singing)  
At the end  
of and Endless Circle  
I know  
what I'm searching for.  
Somehow,  
every time that I   
leave you  
I love you --

End on CHLOË.

CHLOË (CONT'D)  
(singing)  
-- even more.

BRADY (O.S.)  
I've been made.

The audience CHEERS as the song ends, but Chloë is frantically searching the audience. 

BRADY (O.S.)  
He's going out the west doors.  
I'm in pursuit.

She recovers herself and bows to the audience as Jay approaches.

CHLOË  
(to Brady)  
Call for backup!

BRADY (O.S.)  
No time.

She stands and shakes Jay's hand. She smiles, says through her teeth.

CHLOË  
Gotta run. Company business.

JAY  
Break a leg.

She waves to the audience and dashes off.

JAY (CONT'D)  
(to audience)  
Stick around, everybody, we've  
got the winner of this year's   
Sixth Grade National Spelling  
Bee coming up next!

INT. BACKSTAGE - CONTINUOUS  
Chloë runs through the hallways from soundstage to soundstage, but she's as lost as Spinal Tap.

CHLOË  
Brady, where are you?

EXT. NBC LOT - EVENING

Brady is pushing his way through a throng of extras and tourists. He looks around frantically.

BRADY  
I'm outside. Dammit! I think  
I've lost him.  
(pulls out walkie-talkie)  
Air Support? This is Agent Black.  
Any sign?

AERIAL SHOT of the milling crowds.

HELICOPTER AGENT (O.S.)  
No sign of him, sir.

BACKSTAGE

Chloë runs for the nearest exit door.

CHLOË  
Brady? Talk to me!

OUTSIDE

Brady is growing furious. He stops, scans.

CHLOË (CONT'D; O.S.)  
Brady....

He sees THE BACK OF PHILLIP'S HEAD and starts running toward it.

BRADY  
Got 'im! He's headed southwest  
across the lot. I'm following.

CHLOË (O.S.)  
I'm on my way.

BRADY  
The hell you are. Get yourself  
a taxi and get out of here.

CHLOË (O.S.)  
As if!

BRADY  
This is insubordination.

CHLOË (O.S.)  
You should be used to that.

CHLOË bursts out of the soundstage into the twilit evening and looks around. She gauges the sun's position and starts running.

BRADY (O.S.)  
(to walkie-talkie)  
This is Agent Black. I want  
all available agents headed   
for the wardrobe warehouse  
in the southwest corner of the   
lot. Except Agent Lane. If  
any of you should encounter  
Agent Lane, get her the hell  
out of here and back on  
a plane to New York. That's  
an order.

CHLOË  
You are such a pain in my  
ass!

BRADY (O.S.)  
And you should be used to that.

Chloë rounds the building and pulls up short as TWO AGENTS dash by about 20 feet away, but looking in the other direction.

CHLOË  
(to herself)  
Jeez, people. The other southwest.

BRADY (O.S.)  
Huh?

CHLOË  
Nothing.

She takes off in the opposite direction from the agents.

EXT. WARDROBE WAREHOUSE - CONTINUOUS

Phillip casts one look over his shoulder at the distantly following Brady and slips inside.

Brady runs up, out of breath, and follows.

INT. THE WAREHOUSE - CONTINUOUS

It is almost pitch black inside. The closing door echoes loudly. Brady pulls his weapon and looks around.

Rows and rows and rows of racks, of chests of drawers, of hat stands. More clothing than you can imagine in one place at one time, and all of it is gray in the dark. Brady listens. He turns sharply toward a distant footstep. He heads slowly for it, creeping, making no noise.

CHLOË (O.S.)  
Brady, where are you?

He ignores it, knowing the slightest whisper will give him away.

EXT. THE LOT - CONTINUOUS

Chloë looks around wildly, lost. She swears to herself. She squints at the last hint of sunset, a few wispy pink clouds on an inky horizon. She turns toward it, then turns slightly left, and begins running again.

IN THE WAREHOUSE

Brady leaps out from behind a row of kimonos, gun pointed.

No one there. 

He creeps forward.

OUTSIDE

Chloë has picked up some serious speed.

A hundred feet away, an agent spots her, points, shouts something. Chloë swears again and ducks behind a building.

INSIDE

A quick movement above catches Brady's eye. He looks up at the CATWALK, also crammed with racks and boxes. But there's also SOMEONE MOVING up there.

He heads for the stairs.

OUTSIDE

Chloë crouches behind a dumpster. The coast looks clear. She comes out of the shadows and heads cautiously for the warehouse door when --

Someone grabs her arm. She turns.

INSIDE

Brady creeps upstairs.

On the catwalk, he looks around, staying low as he moves forward. Past boxes. Past racks, around a corner, where he sees --

PHILLIP

OUTSIDE

Chloë yanks her arm away from the AGENT who has stopped her. She backs away, but ANOTHER AGENT grabs her.

CHLOË  
No! Stop it! I have to get in  
there!

AGENT 1  
We have our orders, ma'am.

CHLOË  
But Brady is alone in   
there with --

BRADY (O.S.)  
Uncle Phil.

CHLOË  
(to herself)  
Oh God.

Chloë continues to struggle in the agents' grips as she listens, horrified, to what is going on inside.

BRADY (O.S.)  
Because we knew you'd be  
wherever she was.

CHLOË  
Oh, God. Brady, just run! Get  
away from him!

AGENT 2  
Calm down, Agent!

BRADY (O.S.)  
It was a sucker bet you'd risk  
your entire empire on one  
woman. It's the Kiriakis Curse.

AGENT 1  
(on walkie-talkie)  
Attention all agents. We need  
backup at Wardrobe. Agent  
Black has the suspect inside.

BRADY (O.S.)  
Don't remind me. So now,  
Unk, are you gonna come  
quietly, or are things gonna  
get ugly between us...again?

CHLOË  
(to agents; struggling)  
Please, please let me go! We  
can't leave him alone with --

Chloë hears Brady HOLLER. She renews her struggles, then --

GUNSHOTS

and

In her earpiece, a sickening, wet THUD and a cry of agony.

CHLOË  
No!

She finally kung-fus herself free of her captors and dives 

INSIDE

pulling a throwing knife from behind her neck, inside her collar.

She is running frantically from row to row.

The agents follow her, guns drawn, running in opposite directions.

FROM ABOVE, all three searching frantically, then --

CHLOË SCREAMS

as she stumbles into a HUGE PUDDLE OF BLOOD. 

BRADY'S GUN lies in the middle of it. Blood DRIPS from above. She looks up, cries out.

CHLOË  
Oh, please God, no!


	5. Point of Entry

EXT. WAREHOUSE ROOF - NIGHT

A BLACK HELICOPTER lands on the roof of the wardrobe building. Shane climbs out of it. He limps across the roof toward

CHLOË, who stands alone, arms crossed, face streaked with tears, among the milling agents. 

She looks daggers at Shane.

He walks slowly up to her. He opens his mouth to speak. But he has no words. He looks sadly away.

INT. SHANE'S OFFICE - DAY

Chloë sits in a chair, tea ignored on the table beside her. She is staring at a painting on the wall, a pastoral landscape. It looks a little like heaven.

She is not crying now, but her eyes are red. Her jaw is set. And she does not look at Shane as he speaks, sitting at his desk.

SHANE  
This is one of those horrible  
times when the words "I'm sorry"  
seem so inadequate...yet it's all  
I can think to say.  
(beat)  
He was...a remarkable man.

CHLOË  
Stop it.  
(beat)  
Stop saying "was."

SHANE  
Chloë --

CHLOË  
How can they be sure?

SHANE  
(beat)  
No one loses that much blood  
that quickly and survives, love.  
He would have gone into shock  
and bled out before anyone  
could have helped him.  
(beat)  
I doubt he felt a thing.

CHLOË  
Yeah. That's 'cause you didn't  
hear him scream.

A long, uncomfortable silence.

SHANE  
I am so, so sorry.

Chloë nods. She turns from the painting and looks at her hands, clenched in her lap.

SHANE (CONT'D)  
(beat)  
Perhaps the best thing for you to --

CHLOË  
I wanna go get the body.

SHANE  
(beat)  
Pardon?

CHLOË  
Brady's body. Phillip has it.

SHANE  
(beat)  
He might.  
(beat)  
Agent Lane --

CHLOË  
How do we get it?

SHANE  
We don't.

Finally, she looks at him, surprise and hate in her eyes.

SHANE (CONT'D)  
We do not compromise this  
operation to retrieve Agent  
Black's corpse. The potential  
harm far outweighs the good.

CHLOË  
How dare you --

SHANE  
I don't dare, Agent Lane. I know.  
I have been at this job longer than  
you've been alive. And while I have  
every sympathy for your pain, I  
expect you to respect the  
judgement and the authority  
of your superior officers.

CHLOË  
(beat)  
No.

SHANE  
Pardon?

CHLOË  
No. No more. I'm done.

She takes the ID cards from around her neck and sets them beside her teacup.

SHANE  
Agent Lane!

CHLOË  
Not anymore. Not ever again.

She takes the gun from her waistband and puts it beside the cards.

SHANE  
Are you forgetting something?   
Are you forgetting that Yios O  
is still out there, that we have  
a mission to find him and --

CHLOË  
You may be after "Yios O." I'm only  
interested in Phillip. You do what  
you have to do. But if he comes --  
when he comes -- for me, I'll face  
him alone. This is just between him  
and me...and Brady. Like always.

She walks regally out the door. As she departs, she flips her hair, and we see she is still wearing the EARRINGS.

INT. AN EMPTY WHITE ROOM

There is, litterally, nothing to see here. Even if there were, the room is too bright to make out any features. Perhaps that's a corner. Perhaps that's the ceiling.

BRADY (O.S.)  
Chloë...?

Suddenly PHILLIP'S FACE is there.

There is a SCREAM OF PAIN and --

INT. CHLOË'S BEDROOM - NIGHT

Chloë sits up, gasping, the scream still echoing in her ears. She looks around the dark room, panting, then buries her face in her hands. Yes, she's still wearing those earrings.

INT. CHLOË'S APARTMENT - DAY

Chloë putters in the kitchen, cleaning with vigor. She scrubs the counters. She goes to the dishrack and picks up the FRYING PAN.

She stops, stares at it.

Angrily, she thrusts it into a drawer. She continues putting away dishes with far too much energy. She slams cabinets. She throws utensils into their drawers. Finally, she pounds the counter with her fists and HOWLS with sorrow.

She stops, breathing hard, sniffling.

There's a KNOCK at the door.

She storms to the door and thows it open, scowling.

Belle stands, red-eyed, in the doorway.

Chloë looks at her with disdain. She barely manages to choke out --

CHLOË  
Are you here to bring me back in?

BELLE  
(quietly)  
No.

CHLOË  
Then why are you here?

BELLE  
(beat)  
Because I loved him too.

Beat. They fall into each others' arms, sobbing.

INT. CHLOË'S APARTMENT - EVENING

The girls are sitting on the couch, laughing, but it's that memorial service sort of laughter, hard to distinguish from crying. There's TISSUES and PHOTO ALBUMS everywhere.

CHLOË  
...oh, and remember? Remember  
that one Thanksgiving when your  
mom made...oh, what was that  
stuff?

BELLE  
Oh, God! The oyster stuffing!

CHLOË  
That was it! It was so foul, and  
I'm shoveling this disgusting  
mush into my mouth and kicking  
Brady under the table 'cause  
I just know he's gonna say   
something --

BELLE  
Oh, but can you blame him?  
Let's admit it, the one flaw in  
Dr. Marlena Evans' "Superwoman"  
routine is her cooking.

CHLOË  
Jeez, how did you survive it  
all those years?

BELLE  
On Fruit Loops, mostly!

They are laughing again, verging on hysteria. 

CHLOË  
Oh, that explains so much!  
Everything falls into place!  
Brady Black, sugar addict and  
preservative victim!

She covers her mouth suddenly.

CHLOË (CONT'D)  
Oh, God, Belle. I think I'm  
going crazy.

BELLE  
(beat)  
Under the circumstances, I  
think going crazy might be  
the sanest reaction.

CHLOË  
No, no, Belle, you don't  
understand! I can hear him.  
I keep hearing his voice. I  
keep expecting to turn around  
and find him standing there,  
but then...there's no one. And  
the dreams...I keep having  
these horrible dreams.   
Phillip is doing these awful  
things to him, and I can't --

She sobs again. Belle tries to hug her, but Chloë stands and backs away.

CHLOË (CONT'D)  
Why didn't I say something?  
He was here. He was standing  
right there, and he made bacon.  
He stood there and made a whole  
thing of bacon waiting for me to  
say something, and I couldn't  
do it. Why couldn't I do it?  
What's wrong with me? I   
couldn't tell him, and now  
he's...he's....

Belle sits and lets her cry, tears streaking her own face.

CHLOË (CONT'D)  
I loved him so much, and  
I couldn't tell him.

BRADY (O.S.)  
Chloë...?

She sobs again and crumbles to the floor.

INT. CHLOË'S APARTMENT - NIGHT

Chloë sits huddled on the couch, covered with an afghan. Belle walks up and hands her a mug of tea. Chloë just stares at it. Belle puts a comforting hand on her knee.

BELLE  
You should try to eat something.

CHLOË  
So should you.

BELLE  
I'm okay.

CHLOË  
So am I.

She puts the tea down and sits up.

CHLOË (CONT'D)  
I think I'm gonna try to take  
a shower.

BELLE  
Okay.

Chloë takes off her necklace and drops it carelessly on the table. Then she takes out her earrings. Yes, those earrings. She holds them in her palm and stares at them for a while.

BELLE (CONT'D)  
(re: earrings)  
Pretty.

CHLOË  
They were the last thing he  
ever gave me.  
(beat)  
Actually, I guess he didn't  
give them to me. They're  
from Tech.   
(hands them to Belle)  
Can you take them back for  
me? I don't...I'm not going   
back there.

BELLE  
Sure.

Chloë stands and goes into her bedroom.

Belle remains on the couch, fiddling with the earrings. She holds one up, the post between her thumb and forefinger.

BRADY (O.S.)  
(very faintly)  
Where's...Chloë...?

She nearly drops it, eyes wide with shock.

BELLE  
(quietly)  
Oh my God.  
(loudly)  
Oh my God!

She starts clawing her own earring out. She fumbles to get Chloë's into her ear.

BELLE (CONT'D)  
Oh God oh God oh God oh  
my God!

Chloë runs in from the bedroom.

CHLOË  
Belle, what's wrong?

Belle stands and turns to her, smiling with shock and disbelief.

BELLE  
Chloë, you're not going crazy!  
And Brady's not dead!

She points to the earrings.

BELLE (CONT'D)  
I can hear him!

Off Chloë's shocked face, cut to --

INT. HALLWAY - ISA HEADQUARTERS - NIGHT

Belle and Chloë stride down the hall, definitely out of bubblegum.

INT. SITUATION ROOM - CONTINUOUS

They burst through the double doors. Inside, dozens of agents scamper about their work like rats.

BELLE  
Status report, people!

THREE AGENTS hurry up to Belle, waving papers and all talking at once. 

BELLE (CONT'D)  
One at a time!

AGENT 1  
Voice print confirms it's Agent  
Black. Based on the sound quality  
it's a hundred to one against it  
being a recording.

BELLE  
Good. Next?

AGENT 2  
Statistics is still compiling  
data on Yios O's holdings and   
known political interests, trying  
to pinpoint a geographic center,  
but no bullsye on his HQ yet.

BELLE  
(to Agent 1)  
Can you guys help with that?  
Can you trace the source of  
the transmission?

AGENT 1  
We kinda have.

BELLE  
Where is it?!

AGENT 1  
Far away.

BELLE  
Wonderful.  
(to Agent 3)  
What about you?

AGENT 3  
(nervously)  
I'm supposed to discuss  
extraction scenarios with  
you, but...but....

BELLE  
But what?

AGENT 3  
(re: Chloë)  
But I'm not allowed to  
do it in front of her. Ma'am.

The room goes quiet. Everyone looks, then looks away. This is gonna be ugly.

Belle and Chloë just exchange a look.

INT. SHANE'S OFFICE - MINUTES LATER

Belle and Chloë burst unannounced into the office, followed by Agent 1. 

Shane looks at them calmly and pushes a button on his intercom.

SHANE  
(to intercom; mildly)  
Antonio? Would you please  
send in a security guard to  
escort Ms. Lane from the  
building?  
(beat)  
Make that a few guards.

BELLE  
Shane, don't be an ass.

SHANE  
Pardon, Special Agent Black?

BELLE  
Sorry. Assistant Director Donovan,  
don't be an ass. Shane, you know we  
need Chloë to pull this off --

SHANE  
I know no such thing. 

BELLE  
You know she's the only  
agent who can get within  
10 feet of him. 

SHANE  
Hopefully, no one will need  
to get that close. 

BELLE  
No way. The stormtrooper bit  
is only gonna get Brady killed.  
We need to do this small scale,  
get in and get out before Phillip  
even knows we've been there.

CHLOË  
And to do that, you'll need me  
as a distraction.

BELLE  
Or as bait.  
(to Chloë)  
Sorry.

CHLOË  
Getting used to it.

SHANE  
I assume this means you have   
a plan?

BELLE  
I assume this means Chloë's  
back in?

SHANE  
(beat)  
You are inconveniently like  
your father.

BELLE  
Thank you.

SHANE  
Ms. Lane's status will be  
restored until Agent Black  
is recovered. After that...we  
shall see.

CHLOË  
(softly)  
Thank you, Shane.

The three share a quiet moment. 

Agent 1 clears his throat.

AGENT 1  
Um, sir? Ma'ams? We still  
don't have any idea where  
to find him.

SHANE  
(sourly)  
Yes. Thank you.

BELLE  
(to Agent 1)  
What do we know?

AGENT 1  
Well, the transmission is  
coming from somewhere outside  
a 500-mile radius....

Chloë looks impatiently around the room. Shane's CRYSTAL DECANTER SET catches her eye. She frowns at it.

AGENT 1 (CONT'D)  
...We've tried getting information  
out of Agent Black, but he doesn't  
seem to know where he is...in fact,  
he doesn't really seem coherant  
most of the time.

Chloë glances from the decanter set to the WINDOW, which affords a view of the MANHATTAN SKYLINE.

BELLE  
Wait, you mean he's altered?  
Out of it? Has he told you  
why? Is he in pain? Is he --

Chloë approaches the decanter set. She runs her hand along the tops of the glasses: low, low, low, low, low....

AGENT 1  
Agent Black, we don't know.  
We haven't been able to get  
a full sentence out of him.

...then she touches the top of the decanter: high.

CHLOË  
(quietly)  
That's it.

BELLE  
Okay, I need that transmitter in  
here now. I need to know what   
kind of state he's in. I need to  
prep the MedEvac team for --

CHLOË  
(loudly)  
I know where he is.

The others stare at her.

CHLOË (CONT'D)  
I know where Phillip took him.

Off the decanter set, we --

MATCH CUT TO:

EXT. THE SALEM SKYLINE - DAY

-- and like the decanter set, there's only one "high," one serious skyscraper in the whole town: THE TITAN BUILDING.

INT. DOCUMENT STORAGE - TITAN BUILDING - CONTINUOUS

This is a cavernous room, the size of a full floor of the building. It's full of file cabinets and Banker's Boxes upon Banker's Boxes.

There's a clearing in this mess near the door, perhaps 20 by 20. Folding chairs and tables are stacked in the corner. 

In another corner is Brady. He's chained to the wall, one long chain through a ring set high up on 10-foot walls and old-fashioned manacles around his wrists. He's shirtless, shoeless, dirty, bruised, and there's a ratty bandage wrapped loosely around his shoulder. He looks much the worse for wear, gray and sickly. He lies on the floor, eyes closed, breathing raggedly.

The door opens.

In strides Phillip, in a very expensive suit. He's well tailored to the point of gaudy. 

Brady's eyes open, then close again, disinterested.

Phillip walks right up to him and KICKS him in the ribs.

PHILLIP  
Hey, Brady. 

Brady barely has the strength to wince in pain from the blow. Phillip crouches over him.

PHILLIP (CONT'D)  
Let's see how that ol' sepsis  
is doin'.

He yanks the bandage away, revealing an OPEN, PUSSY WOUND beneath. The skin around it looks vaguely green and papery.

PHILLIP (CONT'D)  
Coming along nicely!

Phillip SLAPS the bandage back into place, this time getting a satisfying grunt of pain out of his nephew, and walks away.

PHILLIP (CONT'D)  
Okay. Now I'm bored again.

He throws himself to the ground, stretching himself out, hands behind his head, like a sunbather on the beach.

PHILLIP (CONT'D)  
What's taking her so long?

EXT. TITAN BUILDING - DAY

Employees skittering out the doors. It's closing time.

REVERSE ANGLE

Chloë is in an 

INT. EMPTY OFFICE - CONTINUOUS

across the street, regarding the skyscraper with a high-tech pair of binoculars. Behind her, in the room, Belle and two other agents (SMITH and JONES) are looking at the blueprints for the Titan Building.

BELLE  
(to Chloë)  
Anything?

CHLOË  
Not a sign of either of them.

BELLE  
Too much to hope Phillip'd  
put Brady in the middle of the  
lobby, huh?

CHLOË  
Apparantly.

SMITH  
If he's there at all.

JONES  
(off their looks; covering)  
I still don't understand why  
we can't pulse the place. Knock  
out the cameras, alarms, lights --

BELLE  
Because if Brady's on life  
support, an EM pulse would  
knock that out too. Killing the  
target defeats the purpose of   
a rescue, don't you think?

Chloë leaves the window and joins them.

CHLOË  
What's the point of entry?

BELLE  
For us, or for you?

EXT. TITAN BUILDING - SUNSET

A Fed-Ex (or similar) TRUCK pulls into the

ALLEY BEHIND THE BUILDING

and stops at the 

LOADING DOCK

The driver kills the engine and hops out. It's Belle, hair under a baseball cap, carrying a clipboard. Note her small, gold EARRINGS.

A MAIL CLERK comes to the end of the dock and glares at her.

BELLE  
Hey there. Late delivery. You  
got anything for pickup?

CLERK  
No.

BELLE  
Well, can you gimme a hand  
with this then? It's huge.

The clerk narrows his eyes. Belle looks at him innocently.

BELLE (CONT'D)  
What?

EXT. ACROSS THE STREET FROM TITAN - CONTINUOUS

Chloë stands in a shadowed alley. She's also wearing transmitter earrings.

CHLOË  
Talk to me, Belle.

BELLE (O.S.)  
We're in. 

IN THE MAILROOM

Belle stands over the unconscious body of the clerk. Smith and Jones, both dressed in business casual, are checking their weapons.

BELLE (CONT'D)  
But it wasn't pretty. Give me  
five to get to security and I'll  
contact you when we're ready.

CHLOË (O.S.)  
Okay.

IN THE ALLEY

Chloë watches the building. Then, she takes out an earring. From her pocket, she slips in the one Brady gave her.

CHLOË  
(whisper)  
Brady?

IN DOCUMENT STORAGE

Brady stirs a little, moans. Phillip looks at him.

CHLOË (O.S.)  
It's me. It's Chloë

BRADY  
(mutters)  
Chloë....

Phillip sits up.

IN THE ALLEY

Chloë continues.

CHLOË  
Shh. Don't say anything. We're  
coming to get you.

BRADY (O.S.)  
No....

CHLOË  
It's okay. I promise, it's all  
gonna be okay.

BRADY (O.S.)  
Phillip....

CHLOË  
Phillip can't hurt me any more.  
He's already done his worst. He  
made me believe I'd lost you.  
(beat)  
A long time ago, you rescued me from  
him. From more than that. You rescued  
me from despair, from fear...from  
myself. I think maybe I'd forgotten  
how much I owe you. But I could never  
forget how much I loved you, even when  
I wanted to.  
(beat)  
No matter what happens tonight, no matter  
what I have to do to get you out, never  
forget that. Never forget that I love you,  
Brady. I always have, and I always will.

She switches earrings again as

IN DOCUMENT STORAGE

Brady sits up

BRADY  
Chloë, don't!

Phillip moves closer.

PHILLIP  
You havin' a nightmare, Brady?  
(beat)  
No, you're not, are you? I don't  
know how you know, but you  
know. She's here.

Phillip jumps to his feet. Brady makes a weak and desparate grab to stop him but misses by a mile. Phillip runs out of the room.

INT. BUILDING SECURITY - CONTINUOUS

Belle sits at the bank of monitors, more unconscious employees on the floor. (Damn, she's good.) Smith and Jones wait by the door.

Belle starts typing on the console. She frowns at it, types some more, then smiles.

BELLE  
All right, Chloë. I've got systems  
access. You are good to go.  
(beat)  
Break a leg.

EXT. TITAN BUILDING - CONTINUOUS

Chloë takes a deep breath and heads for the building.

INT. LOBBY - TITAN BUILDING - CONTINUOUS

Chloë walks right up to the security desk and smiles her superstar smile at the GUARD.

CHLOË  
Hi! My name's Chloë Lane. I'm  
here to see Phillip Kiriakis. I   
don't have an appointment.

GUARD  
(beat)  
Excuse me?

CHLOË  
You know. Phillip. Billionaire  
madman. Faked his own death.  
His dad built this place. Phillip.

GUARD  
Miss, I don't know who you're  
talking about, but I'm gonna  
have to ask you to leave.

CHLOË  
Just tell him I'm here.

GUARD  
Ma'am --

The guard stops suddenly. A RED LIGHT on the phone on his desk is blinking. He picks it up.

GUARD (CONT'D)  
(to phone)  
Yes sir?  
(long beat)  
Okay, sir.

He hangs up the phone. He scowls at Chloë.

GUARD (CONT'D)  
Someone will escort you to  
the 22nd floor. Please step  
through the metal detector.

CHLOË  
Thanks!

She waves cheerfully and steps through the arch of the machine. As she does --

INT. SECURITY

Belle winces at a loud SQUEAL and grabs her earlobe.

BELLE  
Ow! Dammit. Chloë? Can  
you hear me?  
(beat)  
He pulsed her. Son of a....  
Okay, we're flying blind, folks. 

SMITH  
Where's she headed?

BELLE  
She didn't get a chance to  
tell me.

Belle scans the security cameras. One of them shows an ELEVATOR. She watches as Chloë and TWO GUARDS step into it.

INT. ELEVATOR - CONTINUOUS

Chloë stands between the two guards. They are much, much bigger than her. She glances first at one, then at the other. Then she grins an impish little grin.

INT. SECURITY

Belle watches her intently.

BELLE  
Come on, Chloë, give me   
a sign. Don't leave me   
hangin'.

Chloë's eyes dart to the camera, then away. She raises her hand to her mouth and COUGHS TWICE. She puts her hand down. Then she raises it again. COUGS TWICE. Puts her hand down.

BELLE (CONT'D)  
That better mean what I  
think it means. Guys? You're  
goin' to 22. Take the stairs.

Smith and Jones take off.

INT. ELEVATOR

Chloë watches the rising numbers. 19...20...21...

The elevator JERKS to a stop.

Chloë EXPLODES INTO ACTION, driving the BACK OF HER FIST into the FACE of one guard and SNAP KICKING the other in the KNEES. They bounce off the walls and come at her. She grabs each neatly by the back of the neck and SLAMS THEIR HEADS TOGETHER. They wilt and fall at her feet. 

No time to gloat. She JUMPS and PUNCHES OUT the emergency hatch in the ceiling. She JUMPS again and is hanging from the lip of it. She pulls herself through.

ON TOP OF THE ELEVATOR

Chloë takes out a pair of handles and clamps them onto the elevator cables. Suddenly, the elevator DROPS and leaves her hanging in space.

INT. HALLWAY - 22ND FLOOR

Phillip is watching the numbers over the elevator doors. He scowls as the numbers drop rapidly. He looks around. All of the floor indicators are going haywire.

IN SECURITY

Belle types and snickers with satisfaction.

BELLE (CONT'D)  
Confused yet, Phillip? Loser.

IN THE ELEVATOR SHAFT

Chloë climbs past the doors that have a big "22" spraypainted on their interior. She makes it to the VENTILATION SHAFT above the doors and RIPS it's cover off.

IN THE HALLWAY

Phillip growls in frustration and dashes down the hall.

Above the elevator, behind a grate, CHLOË'S EYES blink at us.

INT. PHILLIP'S OFFICE - CONTINUOUS

Phillip rushes to his desk and SLAMS his fist down on an intercom button.

PHILLIP  
Where the hell is she?

GUARD (O.S.)  
(on intercom)  
Sir?

PHILLIP  
Where the hell did she go?

GUARD (O.S.)  
(on intercom)  
I sent her up to 22, sir, like  
you said.

Phillip GRABS the intercom and THROWS it against the wall. He pauses for a second, seething. Then --

PHILLIP  
Fine.

He storms out of the room.

IN THE AIR VENTS

Chloë sees him and scrambles off to follow. At each vent, she looks down and sees the top of his head. It's tough to keep up on all fours, but she hustles.

IN DOCUMENT STORAGE

Phillip breezes through the doors and over to Brady. Brady opens one eye as Phillip hulks over him.

PHILLIP (CONT'D)  
(whispers)  
Sit tight. Won't be long now.

IN THE AIR VENTS

Chloë struggles along, looks down and sees Phillip, crouching in the corner. She sees the chains. All she can see of Brady is is his legs. She swears silently. She pulls her weapon, checks the clip.

IN DOCUMENT STORAGE

Near the ceiling, an air vent cover shivers, then is PULLED INSIDE the shaft. 

Chloë peeps out. She gauges the distance to the floor, takes a deep breath, and JUMPS.

STOMP

Phillip smiles as she makes loud contact with the floor.

Chloë raises her gun and takes aim.

CHLOË  
Phillip.

PHILLIP  
(gently)  
Hi. Glad you're finally here.

CHLOË  
I'm armed, Phillip. I want you   
to step away from Brady. Do  
it slowly.

Phillip shakes his head sadly.

PHILLIP  
I understand. I do. But....  
not happening.

He turns aside. He has his gun under Brady's chin, poised to blow Brady's brains out.

PHILLIP (CONT'D)  
Put your gun down.

Devastated, she complies.

PHILLIP (CONT'D)  
And kick it this'a'way, please.

She does. She swallows hard.

Phillip contemplates her for a long time.

PHILLIP (CONT'D)  
You look good, Chloë.

IN SECURITY

Belle is typing furiously.

BELLE  
Where'd you go? Where'd you  
go? Where the hell did you --

She squints at a monitor labeled "22." As she types, it flips from view to view to view. The floor seems deserted, until SMITH AND JONES pop out of the stairwell. Their weapons are hidden. They look like just a couple of employees, wandering down the hall, talking business. Belle picks up a walkie talkie.

BELLE (CONT'D)  
Guys? They've fallen off the  
map. Wherever they are, there's  
no cameras. Hard search. Every  
room. Right now.

Jones finds the camera and nods at her. He says something to Smith, and they split up, walking in opposite directions.

Belle resumes her typing. The monitor resumes its flipping, until --

BELLE (CONT'D)  
Hang on!

She flips it back. She stares. She types again, and the camera pushes in on a door.

It's labeled DOCUMENT STORAGE.

BELLE (CONT'D)  
Nailed.  
(to walkie-talkie)  
Guys, I think I've got them.  
(beat)  
Guys?

IN THE HALLWAY

Jones rounds a corner and 

BLAM

Blood blossoms across his chest. Meanwhile

SMITH

hears the gunshot and turns around, running smack into a VERY LARGE, SMILING GUARD, who decks him.

IN SECURITY

Belle flips through the views of 22. She stops dead at Jones's body. She covers her mouth in horror. She collects herself and keeps flipping. She catches the guard dragging Smith into a utility closet.

BELLE (CONT'D)  
Damn!

She pulls her gun and runs from the room.

INT. DOCUMENT STORAGE

Phillip stands, his gun still pointed at Brady.

PHILLIP  
You look...really good. How've  
you been?

Chloë doesn't answer. Phillip begins to choke up. He walks slowly toward her.

PHILLIP (CONT'D)  
What's it been, like, eight years  
now? Not counting the other  
day. Nice moves, by the way.  
(beat; re: gun, joking)  
Kinda like old times, huh?

CHLOË  
(serious)  
Yeah.

PHILLIP  
I'm sorry it had to be this way.

He stops just outside of kicking range.

CHLOË  
It didn't have to be this way.

PHILLIP  
Oh? What do you think I   
should have done? Just show  
up on your doorstep?

CHLOË  
I don't know, Phillip, but --

PHILLIP  
Just walk up to you on the  
street one day and say, "Hey,  
Chloë, long time no see! I'm  
going to kill you now!  
(raises gun)  
Because I am going to kill   
you now.

INT. STAIRWELL

Belle is racing up the stairs. At the landing to the 22nd floor, she backs up and takes a FLYING LEAP at a ventilation shaft, knocking the cover off. She ducks as it flies at her head. She backs up again, runs for the wall and --

IN DOCUMENT STORAGE

Chloë takes a step away from Phillip. He laughs.

PHILLIP  
Oh, what, you think this was  
about you'n'me getting back  
together? You thought I'd  
actually forgiven you? Either  
of you? Please.

CHLOË  
Then why didn't you kill  
us before? Years ago?

PHILLIP  
Honestly? Well, first I had  
to get the meds straightened  
out. You know. Then, by the  
time I got around to it, the two  
of you were so miserable...I  
was kinda having fun just  
watching.

CHLOË  
You....

PHILLIP  
Me what?  
(beat)  
Don't worry. Calling me  
names isn't going to piss me  
off any more than throwing   
me off a bridge and sleeping  
with my nephew did.   
(beat)  
Y'know, I've been waiting   
for this for so long. But now  
that the moment's here...  
(beat)  
...it's even better than I   
imagined.

Suddenly, Phillip's demeanor is that of Hannibal Lechter on crack.

PHILLIP (CONT'D)  
This is the best. It's like  
Christmas! I can't decide  
which of you to open up and  
play with first! I mean, there's  
this guy here, he slips in while  
I'm out of town, fighting for  
my life no less, and he slips it to  
my girlfriend. Then, insult to  
injury, kills me. Sort of. And   
then he makes a career of   
putting me out of business.  
Letting him watch you die,  
slowly, I might add, doesn't  
seem like the half of it, does  
it? Now, on the other hand,  
I could make you watch him  
die, 'cause after all, you're  
the heartless, cheating, lying,  
backstabing BITCH who drove  
me off my rocker! Oh, man!  
Decisions! Decisions! Should  
I kill him first? Should I kill  
you first? Ah-ha! I know!

He RUNS FULL FORCE into a stack of BOXES. He darts aside as the boxes fall, and tumbling down with them comes BELLE.

Belle lands hard on the cement floor. Her gun flies from her hand. 

PHILLIP  
I'll kill Belle first!


	6. Full Circle

INT. SALEM HELIPORT - CONTINUOUS

The small, dingy office is overrun by AGENTS with weapons. Shane sits at the manager's desk, still in the midst of chaos, staring into nothing and drumming his fingers on the desk.

A COMMUNICATIONS AGENT sits at a small RADIO SET. He pulls off his HEADPHONES and turns to Shane.

COMM GUY  
Sir? It's been 15 minutes since  
our last contact with Belle Black.  
(beat)  
Sir?  
(beat)  
Sir, we're gonna lose Kiriakis if --

Shane looks moodily out the window toward a BLACK HELICOPTER waiting on the pad.

SHANE  
Five more minutes.

PUSH IN on the chopper to reveal the black-and-balaclava-clad EXTRACTION TEAM getting settled inside. 

INT. DOCUMENT STORAGE - CONTINUOUS

Belle groans and rolls over, clutching her right arm with her left.

Phillip looms over her.

CHLOË  
Phillip, don't. Belle never did  
anything to you!

PHILLIP  
Besides this, you mean?

He hauls Belle to her feet. She gasps in pain.

Brady, unnoticed by the others, rolls from his back onto his side. He puts a hand down to brace himself.

Phillip puts the gun to Belle's head.

PHILLIP (CONT'D)  
You're right, though. Belle's  
my oldest friend. We were in  
playpens and wading pools  
together. It would...hurt me  
if anything were to happen  
to her.  
(long beat)  
But it would hurt you and  
Brady more.

Phillip is smiling regretfully down at Belle, almost cradling her broken body.

Behind him, Chloë notices Brady. He has made it to his hands and knees. She looks quickly away.

CHLOË  
Are you sure of that? Think  
about it, Phillip. Who else do  
you have left? Do what you  
want to me. You're probably  
right. I deserve whatever I get  
from you. But Belle --

PHILLIP  
SHUT UP!

He swings the gun around to point it at Chloë.

PHILLIP (CONT'D)  
I know what you're trying to  
do! You want to confuse me!  
You're trying to get me off my  
guard! Well, it won't --

Suddenly, Phillips CRIES OUT in pain. He looks down.

Belle has jabbed him in the stomach with a POCKET KNIFE.

Seizing the moment, Chloë ATTACKS. She grabs his wrist and TWISTS, and Phillip SCREAMS again and drops his gun. She PUNCHES him in the face. He staggers back and releases Belle. Belle slumps to the ground. 

Chloë and Phillip continue hand-to-hand while Belle CRAWLS across the floor toward her gun and Brady HOISTS himself to his feet by clutching the wall.

Phillip notices Belle and LUNGES for her. Chloë notices him noticing and LUNGES for Phillip's gun. 

She whirls and points it at him just as he picks Belle up.

CHLOË  
LET HER GO!

Phillip chuckles. He pulls Belle's body in front of him like a shield.

PHILLIP  
Or what? You're gonna shoot me?

CHLOË  
No.

She AIMS HIGH and SHOOTS. 

The ring holding Brady's chain to the wall SHATTERS.

With a roar, Brady DIVES, chains and all, at Phillip. Belle tumbles free again as Brady lands on Phillip and knocks him to the ground. He pins his uncle down and starts punching. He's breathing hard, every movement hurting him as much as Phillip.

BRADY  
(to Chloë)  
Get...her...out....

Chloë's already on it, picking Belle up and dragging her toward the door.

INT. HALLWAY - CONTINUOUS

Chloë pulls Belle toward the staircase. As they make it to the door, a guard comes around the corner. Before he can take aim at them, Chloë SHOOTS. The guard goes down, clutching his knee. Chloë and Belle disappear into the stairwell.

INT. DOCUMENT STORAGE - CONTINUOUS

Phillip THROWS the maddened Brady off of him and leaps in for his own attack.

EXT. ROOF - TITAN BUILDING - CONTINUOUS 

Chloë tows Belle out the door onto the roof. She props Belle up by the ledge and starts searching Belle's pockets. Finally, she finds the WALKIE-TALKIE.

CHLOË  
(to walkie-talkie)  
This is Agent Lane requesting  
immediate extraction. I have two,  
repeat two agents down and in   
need of medical assistance. I have  
two agents missing. 

BELLE  
(weakly)  
...dead....

Chloë looks at her in shock.

SHANE (O.S.)  
(on walkie-talkie)  
Chloë? Chloë are you there?  
What's going on?

CHLOË  
(to walkie-talkie)  
I've got Belle on the roof. She  
needs help. I'm going back for  
Brady.

She drops the walkie-talkie into Belle's lap, kisses Belle on the forehead, and runs for the door.

SHANE (O.S.)  
(on walkie-talkie)  
Chloë? Chloë? Wait!

INT. DOCUMENT STORAGE - CONTINUOUS

Brady and Phillip stand, fists raised, exhausted and swaying, like punch-drunk boxers. Phillip throws a right hook. Brady dodges. He throws a left hook. Brady dodges the other way, and Phillip sucker-punches him in the gunshot wound. Brady staggers back and hits the wall. Phillip walks toward him slowly, clutching his own bleeding wound.

Phillip tries to throw Brady to the ground, but Brady stands firm, and they grapple and rabbit punch their way along the wall. Phillip grabs the middle of Brady's chains and brings them up across Brady's neck. He pulls the chain taut, pinning Brady to the wall with it, choking him. Brady struggles, clutching at the chain, kicking at Phillip, eyes rolling, fighting to stay conscious.

PHILLIP  
(panting)  
So much for ceremony. I only  
wish that Chloë could be here  
to see this.

Suddenly, Phillip gasps and jerks. He sways, revealing Chloë behind him, her face a mask of fury.

Chloë JERKS her arm, and Phillip gasps again. Slowly, he releases the chain and falls gracelessly to the floor.

Phillip lands on his face, revealing Chloë's KNIFE, well twisted, in his back.

Chloë looks at Brady. Brady looks at her.

He slides slowly down the wall and out of consciousness.

OVERLAP TO:

INT. HOSPITAL ROOM - DAY

CU Brady's face, in profile, a mass of cuts and bruises. The morning sunlight slants into his eyes, and he stirs, blinking into the light, not quite remembering where he is.

He lifts his right hand, brings it close to his face, wiggles his fingers. He tries to raise his left arm, fails, looks curiously down at his shoulder.

From above, we see Chloë crammed between Brady's bandaged body and the bed rail. She's still in her clothes and above the covers. She's asleep, but not peacefully. Her brow is wrinkled in concern. One of her arms lies across Brady's chest, holding him close and protectively.

Brady smiles down at her.

He puts his arm over hers, kisses the top of her head, and nestles his cheek against her hair as he falls back to sleep.

OVERLAP TO:

EXT. PARIS SKYLINE - NIGHT

The City of Lights in all its nighttime splendor, with the Eiffel Tower prominent in the foreground.

EXT. BELOW THE EIFFEL TOWER - NIGHT

Brady and Chloë hold hands and walk lazily along the broad promenade. They whisper to each other, smiling and giggling, Eskimo kissing, just another romantic couple out for a stroll.

They stop beneath the tower and look up at its peak.

CHLOË  
Wow. I can't believe it. We're  
finally here, together.

BRADY  
Long time coming.

They kiss.

BRADY (CONT'D)  
Ready to go up?

CHLOË  
You bet I am.

They kiss again, then walk toward the tower.

CHLOË (CONT'D)  
Just try not to get pushed off.

BRADY  
Oh, ha ha!

INT./EXT. OBSERVATION PLATFORM - TOP OF THE TOWER - NIGHT

A SHADY-LOOKING GUY in a dark suit, carrying a briefcase, stands by the rail looking out at the city. He takes the cigarette from his mouth and drops it, then crushes the butt with his toe. 

Shady is joined by a SHADIER-LOOKING GUY, also suited, but without a case. He leans against the rail next to Shady. Their eyes do not meet.

SHADY  
You have the vial?

SHADIER  
I do.

SHADY  
I'll need to see it first.

The men turn to face each other. Shadier pulls a SMALL VIAL out of his inside pocket. He holds it up.

Shady smiles, then frowns.

There's a knife at his throat.

Chloë peeks over his shoulder.

CHLOË  
Hi!

Shadier looks surprised. Someone taps him on the shoulder.

Brady PUNCHES Shadier in the face and NABS the vial from his hands as he crumbles, unconscious, to the ground.

Chloë rolls her eyes.

CHLOË (CONT'D)  
Was that entirely necessary?

BRADY  
No, but it was funny.

Brady kneels to cuff Shadier, while Chloë sighs impatiently. He turns and starts cuffing Shady.

BRADY (CONT'D)  
You gotta stop taking your  
work so seriously.

CHLOË  
Hello! It's my time off I'm  
taking seriously. This is  
Paris. You know, walks along  
the Seine, romantic dinners,  
Le Jazz Hot?

BRADY  
Oh you'll get Le Jazz Hot.   
I can guarantee that.

They smile at each other meaningfully. Shady looks from one to the other, not sure he's hearing what he's hearing, quite sure he doesn't want to hear it.

CHLOË  
Yeah, well, the smoother  
this goes, the sooner we can  
have some fun. I want this  
to be quick and easy.

BRADY  
I thought you liked it slow  
and hard.

Chloë rolls her eyes again. Shady grimaces in disgust. Chloë starts to haul her prisoner away.

CHLOË  
I am not helping you carry  
him.

Brady holds out pleading hands as she disappears from view.

BRADY  
Aw, come on, Padwan! Give  
your older and wiser half a  
hand here!  
(no response; mutters)  
Lazy wench.

CHLOË (O.S.)  
I heard that!

Brady sighs and lifts his prisoner, still grumbling. As he drags his man toward the elevator, MUSIC OVER (Kyle's cover of "Everlong") fades in. We PULL BACK SLOWLY to another breathtaking view of the PARIS SKYLINE before we--

FADE OUT

THE END


End file.
